Top 1200 Stage Play Quotes & Sayings - Page 17

When we play in the Pro Tour there's no crowds in, so you can concentrate better. The others play better as well, there's players who can't play too good on TV but on the floor when it's nice and quiet they can bang them in, let me tell you.

I loved to make people laugh in high school, and then I found I loved being on stage in front of people. I'm sure that's some kind of ego trip or a way to overcome shyness. I was very kind of shy and reserved, so there's a way to be on stage and be performing and balance your life out.

I called Scott Rudin, and I told him I wanted to do the play [Fences], so that's how the ball got rolling. I never said, "I'll do the play, and the next year I'll do the film, I just wanted to do the play."

My parents are both musicians and made sure we all played music. My brothers and sisters all play instruments, so we'll get together whenever we can and play. We play a lot of classical music - you know, the good stuff.

I was horribly shy all through grade school and high school. But somehow I got up the nerve to audition for one play in high school - 'Auntie Mame.' I got a small part as the fiancee who comes on in the end. I got laughs. I wasn't shy at all doing the part. I can do anything on stage and write it off as a character.

A 300pp novel can easily become a 200pp novel by printing with smaller type; a 100pp screenplay can potentially become a film of between 60-140 minutes in length; a 200pp stage play could be performed in anything from 30 minutes to four hours. For all these media, the script length is agnostic to the final work.

Macbeth is a very popular play with audiences. If you want to sell out a theater, just mount a production of Macbeth. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.

I just play to win. I play to be competitive; that's it. I think every player hopes that they do something special that everyone remembers later in life, or whatever. But that's not why we're playing. At least, that's not why I play.

In a way, you normalize your own childhood to yourself, so I never thought about how much I wrote as a kid. So I was there, confronted with it - so many notebooks, so many tiny plays. Every week we put on a play. We had a big futon, so my sister and I would use the futon as our stage, and I wrote little skits and made her faint because I found it so funny.

To come out here and play on Woodstock grounds, first year ever headlining on the main stage there's nothing more iconic. [Mysteryland] is one of those festivals that holds down the legacy of dance music it's been around for so many years. It's been part of what we do for so long. It kinda makes sense to bring the tradition over here to America. The festival grounds of Woodstock, that's pretty epic.

Accept your loneliness. It is one stage, and only one stage, on a journey that brings you to God. It will not always last. Offer up your loneliness to God, as the little boy offered to Jesus his five loaves and two fishes. God can transform it for the good of others. Above all, do something for somebody else!

I play a bunch of instruments, like piano, drums, guitar and bass. And the kazoo every now and then. I'm trying to learn how to play the trumpet and the saxophone. That's what I'm learning how to play.

Both T.S. Eliot and I like to play, but I like to play euchre, while he likes to play Eucharist.

I was brought up not to be selfish or self-centered. So if you play somebody who isn't so lovable, you can play that person and no one will turn on you. I don't want to play that person in real life. Because then people won't like me so much.

I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.

The headmistress was a very well-respected theater teacher. She taught me what stage left and stage right were, what a director was, and what all these things meant, which was something I had no concept of. She sent me off to drama school, at age 18, and I stayed there for three years. Before I knew it, I was working on a TV show.

I'm a Gemini, so there's two people in me. Straight up. There's the nerd who is totally zoned out in the studio, EQ-ing this kick drum, raising this snare one decibel, or swapping this high hat out for another. Then there's the other side who's a performer. I have to go out on stage and be electric, a fire cracker, just run around the stage and give a show.

Getting to do shows with Lady Antebellum, Keith Urban, and Sam Hunt is just awesome. It's so inspiring because I grew up such fans of Lady A and Keith, and to be able to sing my songs on the same stage as them and then stand side stage and watch them is just a really special thing.

It seems to me that most people are impressed with just three things: how fast you can play, how high you can play, and how loud you can play.

Taking drugs on a recreation level is one thing. But taking them while you're working on a stage is, I don't think it was that great. It's the control factor. And the thing about being on stage, you really want to feel that you're sort of in control a lot. It's not a place where you want to be out of control.

What kid doesn't want to play in MSG? I've been fortunate enough to play there many, many times during my basketball career. Every chance I get to play there, I try to embrace it. I just love playing there.

Certainly, if you can't manage your game, you can't play tournament golf. You continually have to ask yourself what club to play, where to aim it, whether to accept a safe par or to try to go for a birdie. You can't play every hole the same way. I never could.

I really like to play to squash, because it's competitive, and I like basketball. I'm friends with a guy in L.A. called Andrew Bynum, who used to play for the L.A. Lakers NBA team. We play together sometimes.

I love being in an arena that has like 10,000 people and huge crowds. I want to do a show at like the Viper room so badly. Like go up on stage and thrash myself around, go jump into the crowd. You can effing swear, get drunk on stage and do whatever you want basically.

What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.

Anything you can do to express yourself is a form of art. That's why I love my craft so much. I always wanted to play other artists. If I can't play an instrument, then I want to play a character that can. There is an artist behind everything, and I think that's beautiful.

Since the beginning of time, children have not liked to study. They would much rather play, and if you have their interests at heart, you will let them learn while they play; they will find that what they have mastered is child's play.

There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.

James Brown opened at least six of our House of Blues clubs. He always delivered, but he demanded the respect of an emperor. But, come on, he's James Brown ! ... I got to play on stage with him. Did he ever fine me ? (Brown was known to fine players for flubbing notes or steps) - I would have loved to have been fined by James Brown !

All religions, they play football - even nowadays all girls and women have the right to play football in cultures like the Arabic countries in the Muslim they play football.

The beautiful thing about stand-up advice is that it applies to anybody, any gender, any race, any age. The best thing you can do - everybody will tell you - is get on stage as much as you can. I would add to that: get on stage as much as you can - with the people you admire.

We've always dreamt of a TV series and working in film. When we first sat down to seriously write 'A Little Nightmare Music,' to write something for TV was our original inspiration. But all the stuff we were writing down is not going to work on stage. We had to rewrite it so it would work on the stage.

There was a magic about the sea. People were drawn to it. People wanted to love by it, swim in it, play in it, look at it. It was a living thing that was as unpredictable as a great stage actor: it could be calm and welcoming, opening its arms to embrace it's audience one moment, but then could explode with its stormy tempers, flinging people around, wanting them out, attacking coastlines, breaking down islands.

Play well, or play badly, but play truly.

I got to live out my 11-year-old fantasies - I got to go on stage with Green Day. Billie Joe called my name from the stage. 'Dookie' was the first album I ever bought. I covered the whole of 'Nimrod' and he'd heard it. That was like the 11-year-old girl dreamed.

This was a no-brainer, ... When it came down to it, I said to myself, Hey, you can still play, you can still play at a high level and you still enjoy playing. Why not play?

Every revolution begins as consciousness because some group of people has to imagine change. You have to have the idea of change or at least have a hope before you can proceed. And that stage goes very quickly because a contagion of consciousness is within your control. But when you get to the stage of institutional change, it becomes a much slower process.

Buzzing at the Sill is from a Theodore Roethke poem called "In a Dark Time." I'd heard a small part of it in a play, a sort of sci-fi play about morality in a virtual reality universe. Nothing to do with the book precisely, but it was a great play.

I always had something to think about or draw from, which as an actor is a gift. The beautiful thing about film is that it gets so much closer than stage. I love stage and that's what I started doing and it's a beautiful art form in of itself, but in film you can move your eyes to the side and somehow the audience can fill in the blanks of what you're thinking.

I don't play anymore because I can't play anymore and I retired when I was playing for Chelsea because the doctor had to cut my leg in two parts so this is why I retired. I started going to the gym recently and my knee started to hurt again, so you can imagine what it would be like if I tried to play! I play football on the beach with my daughters and my friends but that's it.

Once you go on stage you're essentially creating the world that people want to participate in. The worst thing you can do is go out on stage with the idea that you're going to communicate something you've learned and if you do it really well, they'll approve. If you go out in an approval process, you will be so nervous and so preoccupied you'll never get to the heart of what it is you want to make music with.

I think I've shown I have the defensive discipline to play deep as the No.6 and start the build ups with my passing. I can also play higher up the pitch and make a difference in the opposition area. Being able to do both has helped me to play so many games.

And you know what - and I don't mean this in tongue in cheek way - but it's like deja vu. When I walked in to WCW they were producing wrestling on a little teeny sound stage at Disney, okay? I'm walking into TNA and they're producing wrestling in a little teeny sound stage at Universal.

The coolest thing for me to do was listen to Pearl Jam's 'Ten,' Nirvana's 'Nevermind,' or Soundgarden and play along to it and think about how awesome it would be to be in one of those bands and be up on stage. When I'd close my eyes at 13 and dream of being in Pearl Jam or one of those bands, it was exactly like how it is now with the band I'm in.

We're gonna play fast, we're gonna play physical, we're gonna play furious, and we're gonna play contact football.

In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the characters face really helps get the message across. On stage, you cant do that. But the stage has that live feeling that you cant get anywhere else because the audience is right there.

My parents were really into music. They would play the Funkadelics, Parliament, OutKast; they would just play that all around the house. They'd also play Isaac Hayes, Marvin Gaye, James Brown.

All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.

I deal with the depraved, the sick, the pathetic, the disturbing and the profoundly depressed. I will try it all on. I will try on what I am and what I never want to be. And everything I wanted to be, but never can be. I can be a supermodel, or your worst nightmare. Off-stage, I just get to leave it, and nobody thinks I'm like that. This is what prevents me from being a psychopath and a sociopath, my time on stage.

First, you have to play good football so that you get to play for a good team. Then, hopefully, you achieve such a level that you are invited to play for your national side, in time for a World Cup if possible. Then, obviously, play a good World Cup. That's my dream.

This work should commence with the conception of man, and should describe the nature of the womb, and how the child inhabits it, and in what stage it dwells there, and the manner of its quickening and feeding, and its growth, and what interval there is between one stage of growth and another, and what thing drives it forth from the body of the mother, and for what reason it sometimes emerges from the belly of its mother before the due time.

I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.

At festivals you kind of have to play the game a bit and you have to play a lot of the big bangers but it's to me it's extra gratifying to be able to play the non-bangers and make it work. Because that's still the craft of the DJ, I think.

I play to have fun. I play to win. I play for my teammates.

If you're going to play in all three formats, you can't play all the games. You probably play two Test matches, miss the last one and take some time off and maybe come back for the second ODI or second T20.

I play golf, and I play chess, and sometimes I go to the gym. On the airplane or between acts when I do the performance, I play Candy Crush to forget what happens around me, just to be alone, not thinking... You need to clear your brain.

As an actor, the only thing we can do is play the truth at that moment. Because at any point in time if you play the future, or you play that you know something that the audience does not know, it kills the illusion of reality.

I wanted to play drums, and I got a set when I was 14 and just started to play in the house, to the stereo. I liked Ringo Starr, of course. And Sandy Nelson. I had his record, 'Let There Be Drums,' and I'd play along with it.

When I come off stage, I just shut up. I try as best I can not to use my voice at all. You know I love to talk, but I try when I come off stage to have the minimum amount of vocal interaction because I need at least a good 10 hours to just recover from my form of extreme singing.

In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.