Top 1200 Community Theatre Quotes & Sayings - Page 3

In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.

I love theatre because that is my foundation. So, if I had to make a choice in terms of where I get the most fulfillments, it would be theatre. The reaction is so immediate, unlike with TV and film.

We will get back to the earlier, instinctive and less inhibited nature of theatre. Today, spectators are passive, but Elizabethan, Greek and Roma; theatre was interactive.

In Palm Beach, Florida, tough community, a brilliant community, a wealthy community, probably the wealthiest community there is in the world, I opened a club, and really got great credit for it. No discrimination against African- Americans, against Muslims, against anybody. And it's a tremendously successful club. And I'm so glad I did it.

My plays have been performed before children, workers, and peasants, and they have well understood the meaning of my theatre. What is needed for people to watch my theatre is a freshness and openness of mind.

I had this health teacher who kept me after class one time, saying, ‘You’re missing a lot of class.’ I was like, ‘Yeah, but I’m doing this play.’ He said, ‘Community theatre is not going to take you anywhere. Maybe you should stay in school’

I suppose what's so amazing about working at the National Theatre is that, because it's a subsidized theatre, you're not trying to create a product that's going to have a mass market in order to make the money back.

But I loved the theatre and I was just doing theatre 24/7 and kept dropping courses because I didn't have the time and the chancellor thought that wasn't a good idea after awhile.

The Broadway community is unlike any community in show business and it is unlike any community in the world. When you come into the Broadway community they open the door and they say "welcome". Not only do they do that, but when times are really tough and horrendous things have happened and really tragic things - the Broadway community shows up! And they say "how can we help?".

If you start with community and want to be faithful to community, you have to realize that what binds you together is not mutual compatibility or common tasks, but God. In order to stay in touch with that call to community, we always have to return to solitude.

When you as a designer design something that burdens a community with maintenance and old world technology, basically failed developed world technology then you will crush that community way beyond bad design; you'll destroy the economics of that community and often the community socially is broken.

I've gotten to go wonderful places, meet interesting and intelligent people, and I started of course in the theatre and continue to work in the theatre where there is some intelligence involved in it.

If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.

I would most like to do film or TV. Possibly theatre in the future, but I'm in L.A. a lot of the time at the moment and if I was going to do theatre it would be in London.

I came to musical theatre from straight acting, and a lot of my friends have a real prejudice about musical theatre - one I probably shared.

I think its sad that movies and television have caused the theatre to fade as a popular art form. I hope to get young people into the theatre and expose them to Shakespeare.

For a long time, I've ranted against naming your startup community 'Silicon Whatever.' Instead, I believe every startup community already has a name. The Boulder startup community is called Boulder. The L.A. startup community is called L.A. The Washington D.C. startup community is called Washington D.C.

I don't see a future for Broadway-style theatre in India. We already have Hindi cinema, but small, intimate theatre will survive as long as people feel the need to talk to each other.

The theatre, our theatre, comes from the Greeks.

Our lack of community is intensely painful. A TV talk show is not community. A couple of hours in a church pew each Sabbath is not community. A multinational corporation is neither a human nor a community, and in the sweatshops, defiled agribusiness fields, genetic mutation labs, ecological dead zones, the inhumanity is showing. Without genuine spiritual community, life becomes a struggle so lonely and grim that even Hillary Clinton has admitted "it takes a village".

My first professional job was with Berkeley Repertory Theatre. I started out in an educational touring play and eventually starred on their stages. That was the theatre that nurtured me to expand as an artist.

You don't choose the theatre; The theatre choses you

'Black Watch' has taken its place in the canon of Scottish theatre, and that's fantastic. It's a very particular kind of theatre. It's about the music, the movement, the whole 'event' of it.

Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.

When I started drama school, theatre was the main draw. I never had any movie star notions. Not that there were family ties to the theatre, either.

There is, in fact, a paradox about working to serve the community, and it is this: that to aim directly at serving the community is to falsify the work; the only way to serve the community is to forget the community and serve the work.

London theatre is different: it is a commercial theatre that brings the whole of society into one place. And Shakespeare grasped, better than anyone else, what it means to engage the entire audience.

I came to theatre as a teenager by going to the National Theatre when it was at the Old Vic and sitting on padded seats in the gallery for 15 pence, which was the price of a bus fare.

I think it's sad that movies and television have caused the theatre to fade as a popular art form. I hope to get young people into the theatre and expose them to Shakespeare.

I love the theatre and theatre people.

I used to be one of the lead actors of a theatre group called Hetu when I was in medical school. Prithvi Theatre was our stomping ground. I'd got many positive reviews.

I wound up graduating from the Los Angeles County School for the Arts as a theatre major and then was honored to be accepted into Carnegie Mellon's Musical Theatre program.

I've gone from a kid who was sneaking out of my childhood house and lying to my parents to do shows in a community theatre in Reading, PA, to now having two shows on Broadway opening within two months of each other. That's sort of crazy, that trajectory.

Community cannot take root in a divided life. Long before community assumes external shape and form, it must be present as seed in the undivided self: only as we are in communion with ourselves can we find community with others. Community is an outward and visible sign of an inward and invisible grace, the flowing of personal identity and integrity into the world of relationships.

Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.

I treasure the dark hours in a theatre. But I don't think that, if a film does not reach the theatre, it is, therefore, not a film.

When you as a designer design something that burdens a community with maintenance and old world technology, basically failed developed world technology, then you will crush that community way beyond bad design; you'll destroy the economics of that community, and often the community socially is broken.

Earlier in my college career, there was no doubt in my mind that as a member of the Black community I was somehow obligated to this community and would utilize all of my present and future resources to benefit this community first and foremost.

We can compare classical chess and rapid chess with theatre and cinema - some actors don't like the latter and prefer to work in the theatre.

The natural world is the larger sacred community to which we belong. To be alienated from this community is to become destitute in all that makes us human. To damage this community is to diminish our own existence.

I am quite familiar with the vibrant theatre scene in Bengaluru, as I keep coming back to the city with my plays. Audiences here appreciate arts and are open to different types of theatre and acting techniques.

I want to do theatre. I love theatre.

One way to get very humble is to dedicate the work you're going to do to your community. And by community I mean that community you have a special vision for, that only you see, that no one else in a room sees. That special community in pain, that through a pain you've suffered, you're able to have that vision, that super-ray vision.

I'm doing The Physicists, which is great, and I do have my agent to thank for that because a lot of agents try and talk you out of doing theatre. They don't push theatre because you can make more money doing television, whereas theatre wages are pretty shocking. But it's something I've always been keen to do and have been encouraged to do so, which is nice.

It's always positive to hear how many people are willing to step up - whether it is the employment community, mental health community, or medical community.

I have been involved with theatre since I was 13. I never seriously thought I would get into movies though I had every intention of continuing with theatre.

As a kid who wasn't into sports, at school I felt almost alienated at times, whereas in the theatre community there was this amazing sense of camaraderie. Early on, we would go to rehearsals with my dad and I was like the mascot for the backstage crew. That was a big part of my childhood, so I dreamed of one day doing a play in London.

My grandmother Shelley was an actress and would tell me about working in the theatre, while my grandpa on Dad's side, Gerard Dynevor, was a big influence in theatre and a TV director.

Musical theatre goes through cycles. I came in when it was at the absolute height of musical theatre as I remember it. It was the age of the long-runners.

I think it is completely immoral for a shop to trade in the middle of a community, to take money and make profits from that community and then ignore the existence of that community, its needs and problems.

I need theatre for my equilibrium because in theatre, the actors don't care so much about image, about celebrity; you are more independent.

A community having the breadth and scope of a people still cannot claim to be an ethnic community unless and until there emerges from its mentality a distinctive culture particularized by the community's special character.

If you have a privately owned system, there's going to be monies leaving the community that will go towards shareholder dividends and high salaries. If you have a community owned, municipally owned facility, those extra resources are being reinvested in the community and they can be going to weatherization and other projects that are vested in the community.

I did spend about 5 years in the Griffin Theatre Company in 1978 actually , and worked therefore about 5 years on a voluntary basis. This was very much as a amateur, doing things like mopping the floor, handling props, setting up scenery, etc. I never acted, and don't think I'm an actor, but those years in the theatre taught me a lot about professional theatre.

'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.

Rap actually took root in the Negro community, and then in the Hispanic community, long before it impacted on the larger American community as a whole.

The deaf community is in a favorable position because they have a national theatre and training groups of their own to get them started. Deaf actors have often acquired very valuable skills and experience before they get their break.

In 1984, Jean Vanier invited me me to visit L'Arche community in Trosly, France. He didn't say "We need a priest" or "We could use you." He said, "Maybe our community can offer you a home." I visited several times, then resigned from Harvard and went to live with the community for a year. I loved it! I didn't have much to do. I wasn't pastor or anything. I was just a friend of the Community.

I realized after my first play that no one was going to offer me roles for theatre. So I started my own theatre company even though I was in deep debt in 1988.

As an actor, particularly in theatre, you're trying to get jobs on TV; but you're also losing jobs in theatre to people who are on television.