Top 1200 Shakespeare Play Quotes & Sayings - Page 20

I think of being ornate as a Victorian quality, little to do with Shakespeare. But even Dickens wasn't ornate; he wrote with flow and naturalism.

Number two, we're going to play with a lot of effort. Our guys are going to be in such good shape that fatigue is not going to be a problem. We're going to play with full effort from snap to whistle on every play the entire game.

Shakespeare is one of the best means of culture the world possesses. Whoever is at home in his pages is at home everywhere.

I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.

I don't really know how to play drums, so I play them wrong. But the pro guys, they never sweat. You know if someone's gone to music school, because they don't sweat when they play drums if they have.

In reading, in literature and poetry, I found an artistic freedom that I didn't see at Woolworth's. I would read everything from Shakespeare to science fiction ... sometimes a book a day.

I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.

People constantly express surprise that Americans are so hot for Shakespeare. But Britain's culture is American culture, too.

And the other was this: the doctor did want to take off my leg because he thought it was necessary. But you must remember boys in those days were raised for two things: work, and then they made their play; and if you couldn't play baseball and box and play football, why, your life was ended. That was in our boyish minds.

I just want to play like Jimi Hendrix. I love other forms of music and wish I could play classical piano, or saxophone like John Coltrane, but that will never happen. Because my nature is to play electric guitar really well and to emulate my heroes from the late 1960s.

I thought I'd begin by reading a poem by Shakespeare, but then I thought, why should I? He never reads any of mine.

Before acting, I was always attracted to words, to literature - be they the words of Williams, Arthur Miller, Shakespeare or Moliere.

Shakespeare set a lot of his dramas in a historical perspective or war perspective, or he would study what was going on at that time.

I owe a great deal to Harold Hobson, doyen drama critic of the 'U.K. Sunday Times,' who championed me as Shakespeare's Richard II at the 1969 Edinburgh Festival.

I've always said it's flattering to be desired, just as it's flattering that people accept the reality of the character you play. But it was always ridiculous to assume that because I could play a gigolo on screen I'd play anything like that role off screen.

I always wanted to play cricket, and I have played competitive cricket to a fairly good level. I remember that my father used to come and watch me play. He used to love watching me play.

Our contention has always been that Shakespeare is our greatest living author. If he can survive a season on Broadway, he must be.

I just woke up one day when I was six and I wanted to play the violin. Then, six years later, I didn't want to play the violin, but I wanted to sing and play the guitar.

Exposure is about, among other things, the ferocity of the press and the way - in an echo of some of Shakespeare's plays - the modern media creates heroes to destroy them.

I hear Shakespeare, sometimes, the way other people might hear God or Marx or something. But he's so different from that.

I love Lucille Ball. But you don't call that Shakespeare. It's just entertainment, you know. And if you like that, then go have a ball, have fun.

I surrender to the world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.

In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.

Shakespeare in the Park is one of the greatest gifts in New York City. You just have to wait for the tickets - and it's worth the wait.

I'm not so naive as to think that everybody always succeeds, right? I mean, half of Shakespeare's stories are tragedies - right?

The Sonnets of Shakespeare have the fascination of an autobiography, without its clarity. It is like reading an important document in a cave by the light of matches which keep blowing out.

Socrates, in Plato, formulates ideas of order: the Iliad, like Shakespeare, knows that a violent disorder is a great order.

I think I'm always subconsciously trying to write the ideal school play. Lots of parts for everybody, great parts for women - don't forget, more girls try out than boys in the school play; everyone gets to be in the school play.

Each of my Shakespeare pieces is different to the other, but each espouses a set of philosophies common to all my theatre work.

People take England on trust, and repeat that Shakespeare is the greatest of all authors. I have read him: there is nothing that compares Racine or Corneille: his plays are unreadable, pitiful.

Play becomes a distraction, something you don't really need to do. It's not for serious people. They work hard, they don't play hard. Yes, you can say play hard, but that really means, keep working hard, right?

If you can play the game later in your career very similar to how you played earlier in your career, then it bodes well for you to play longer and play better longer.

All theatre has truth, from Theatre in Education to panto to Shakespeare.

When we treat children's play as seriously as it deserves, we are helping them feel the joy that's to be found in the creative spirit. We're helping ourselves stay in touch with that spirit, too. It's the things we play withand the people who help us play that make a great difference in our lives.

When we play the game like we're supposed to play it, it is pretty easy. Making the extra pass, making the simple play, it's not about between your legs, behind your back, and all of that, it's just about scoring the bucket.

Had be been Shakespeare, he would then have written Troilus and Cressidato brand the offending sex; but being only a little dog, he began to bite them.

Shakespeare is rhythmic; he is musical in the sense that he likes poetry, and he's musical because he constantly refers to settings where there's singing and dancing.

Yes! I'm also a big fan of the movie '10 Things I Hate About You,' which was also based on Shakespeare.

My Valentine's playlist... you're gonna have to play some Ginuwine. You're gonna have to play some 112. You're gonna have to play some Confession - Usher's - back in the day. You know, a little bit of Prince Royce there, too.

It's hard to think that say Shakespeare could have written "The Tempest" when he was young. It seems to be reflective work or retrospective work.

We don't all dig Shakespeare uniformly, or even 'Little Red Riding Hood.' The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life.

I wasn't a musical-theater kid. We went to plays at school and took field trips to see Shakespeare. And that really sparked that fire for me, and so that's still going, and I haven't given up on it.

Many people know that Shakespeare's dramatic 'canon' was established in 1623 by the publication of the so-called First Folio. That hefty volume contained thirty-six plays.

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.

Did you know that forty percent of the words used by Shakespeare were used by him only once?

Dramatic fiction - William Shakespeare made his biggest mark writing dramatic love stories.

With Jorginho it depends what type of football you want to play. If you want to play possession where you have the ball all the time and you play a lot of passes, there are not many as good as him around. If you ask Jorginho to cover 50 metres of pitch in width and get all the balls back, it's going to be difficult.

I don't fool myself. I can't see myself doing Shakespeare.

I considered several names, but Titania, a character from Shakespeare's 'Midsummer Night's Dream', was best able to portray the image I wanted for what is a fantastically elegant and sexy yacht.

Shakespeare pursued the highway of the right. He did not seek to put his characters in a position where it was right to do wrong.

I can't think of anything worse than calling Shakespeare 'highbrow,' because on the one hand, it's brilliant writing. But his plays were popular. People went to see them.

Shakespeare tells the same stories over and over in so many guises that it takes a long time before you notice.

I often hear actors say during their interviews: 'I want to play a crazy person, a murderer, or someone who's on edge.' But that question scares me. I mean, of course there are characters I'd like to play, but I can't really say specifically who they are. It's much too hard to play a convincing normal person as it is.

If I go gambling the slots, some of my friends will come with me and play along with me. It's not like I'm starting out with $500 a pull or $1,000 a pull. I go in there and play $25, and if I win, I play $100s.

Human brains - in terms of cognition and emotion and consciousness - are essentially the same as they were at the time of Shakespeare or Jesus or Cleopatra or the Stone Age. They are not evolving with the pace of change.

What do we teach our children? . . . We should say to each of them: Do you know what you are? You are a marvel. You are unique . . . You may become a Shakespeare, a Michelangelo, a Beethoven. You have the capacity for anything.

First of all, Shakespeare is about pleasure and interest. He was from the first moment he actually wrote something for the stage, and he remains so.

Shakespeare gives you these clues - these little pieces of gold dust, I call them. They tell you so much about the story, the character, the drive, the intentions. It's like a gift.

We've always had a philosophy at Spurs to play out from the back, to play with style, to play out from the back and that's the way I've always been brought up and to come into the first team is no different.

I have genuine empathy for the fact that if you're a professional footballer, you've often started at three years old, you've been found, you've been scouted, you play, you play, you play, you make millions, you live this incredible life. And then you reach 35, and suddenly you have to stop doing it, and you haven't been taught anything else.