Top 1200 Stage Play Quotes & Sayings - Page 6

One of the things I do tell young women, if they want to pursue a career in acting, is to get good stage training. It is essential to have a good basis in stage technique. You can move into film easily, and acquire more skill and more understanding, but you can't necessarily go the other way around. For women, longevity of career will very much be on stage.

I can't think of a better bonding experience than to be able to sit on stage and to watch your fellow performers perform on stage every night.

There's so much control of the audience's experience when you're on stage doing a play, whereas when working on camera, there's a lot of people that have to do a lot of things exactly right for anything that I do to matter at all.

I love all of the ballets that have a really strong story in them where I get to play a character. I don't enjoy the ones that are more technical without a story line and it's just me on stage dancing.

From the core, I'm a shy person, but when I'm on stage, I know how to put it aside. Of course, I'm not perfect, but I've definitely grown as far as being comfortable on stage.

I have social anxiety. It's easier up on stage because there's security in being there. When I'm off stage I'm trying not to be a manic freak. I'm quite shy.

I'm very interested in silence. And, more importantly, in what happens when people aren't talking on stage. I'm interested in letting actors play and do things between the lines. And in slowing everything down.

I love playing with a full band, but there's just like a different feeling up on stage when you're playing with a smaller group. It's easier to play off each other.

I don't know how it is now but the assistant stage manager had to understudy several parts. You had to be ready to go on at any time if the actor couldn't make it to the play. I didn't think anything of it.

I was always the smallest role in community theater and school plays. I always had two lines - I was the kid that came on stage and said one thing and then left, and that was my part for the play.

I've never worked as much as I would've wanted to, and that's why I end up doing a lot of stage as well, because stage is a full course meal.

Without the heart it is no worship; it is a stage play; an acting a part without being that person really which is acted by us: a hypocrite, in the notion of the word, is a stageplayer.

You get all of your neuroses worked out on stage. I haven't actually played very many nice characters, certainly not on stage. It's not a quality that attracts me.

I can feel how an audience is reacting when I'm on a stage, but when you are on stage, your perception is distorted. That's something you just have to know. It's like pilots that fly at high Gs and they lose, sometimes, consciousness and hand/eye coordination and they just have to know that that's going to happen. They have to be trained to not try to do too much while they are doing that. So when you are on stage, you have to be aware that you are wrong about how it feels a lot of times.

I don't think I write differently when I'm writing a screenplay, as opposed to a stage play or a teleplay. Maybe if I were in a film class and there was time to think about it, we could point out differences.

I was never that good on stage with live improv. I was much better on film or writing something and then thinking about it. I was too in my head when I was on stage.

I'm on stage 13. I'm at that can't-be-replaced stage. The transformation I've been through personally with my wife is amazing, but having two girls and a boy, man, that's the painful stuff.

A good play is a play which when acted upon the boards make an audience interested and pleased. A play that fails in this is a bad play.

It was tough doing 'Underneath the Lintel' in New Jersey in the wintertime, but rewarding. Those audiences were lively and interactive. On-stage was great, but off-stage was difficult.

The first time on stage is such a blur to me. I remember how it felt more than anything. I remember everything about the day before I went on stage - what I ate, the first person I met in the club, how I felt beforehand - but the actual being on stage is a total blur.

I guess I thought I was Elvis Presley but I'll tell ya something. All Elvis did was stand on a stage and play a guitar. He never fell off on that pavement at no 80 mph.

No matter how big of a man I am and how big of a stage I play on, I'm always my mom's baby.

The only way you're going to get caps is by playing. I've played all the way through the age groups, and that was my experience. Now I'm on the main stage, and I've got to play to my strengths.

I'm not saying that what the radio plays isn't good. My issue is with what they don't play. You can play Jay-Z, but why don't you play Jurassic 5? You can play Nas and Nelly, but why don't you play J-Live? I want to open up the door to how it was back in the day.

Comedians act every night on stage, so they have great performing chops. They especially know how to play themselves, which is how we set 'Teachers Lounge' up.

We must keep on trying to solve problems, one by one, stage by stage, if not on the basis of confidence and cooperation, at least on that of mutual toleration and self-interest.

My first mentor and inspiration was my Irish Dancing teacher Patricia Mulholland. She created her own form of dance known as Irish ballet and created stage productions of old Irish myths and legends. They were my first experiences on stage. She told my mum I was destined for the stage, and I took that as my cue.

On stage, you have nothing to hide behind. It allows the work to live in a more organic place. It's almost like a meditation. You have to go on that stage and be as present as possible.

I started by doing a little funny story, and then I started going to open mics. I realized I had a lot of work to do - you have to get over the stage fright and get your stage presence up. It took me some time, but I finally feel that I'm at a point where I feel comfortable on stage and giving my point of view.

I don't know how to play the guitar, so having to be on stage in front of people doing something you don't really know how to do, it's terrifying.

I used to do a lot of pratfalls on stage. And I tell you, when a guy with cerebral palsy falls down on stage on purpose - nobody ever knows if it was real or not.

I didn't always mean to be an actor. I was carried onto the stage when I was two days old, but I never acted as a child. My parents were stage people.

Doing an album is like having a business card; to show people what you do. The most important thing to me is the stage. I do albums because I love the stage.

The process with the play, obviously, it belongs to you by the time you're stepping on stage in front of that audience for the first time. You can change it by just a look or things you're not even conscious of, but it's such a full immersion.

It was surreal to play opposite Angela Lansbury and Elaine Stritch, Bernadette Peters and Catherine Zeta-Jones. There was so much to learn just from watching them, and it was an honor to share the stage with women who have accomplished what they have.

It is so scary to break in new shoes on stage. It makes me wonder, how does Beyonce do it, dance in high heels on stage? I am like 'Whoa!'

When I was doing 'Britain's Got Talent,' I really enjoyed it, but I found it very difficult to be in the audience. I like to be on stage; I feel safer on stage because I'm in control.

I've never worked as much as I would've wanted to, and that's why I end up doing a lot of stage as well, because stage is a full course meal

Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?

Stand-up is the place where you can do things that you could never do in public. Once you step on stage you're licensed to do that. It's an understood relationship. You walk on stage - it's your job.

When I do eventually drop, I pray to God that it'll happen in one of three ways. Firstly, on stage or leaving the stage, then secondly in my sleep. And the third way? You'll have to figure that out for yourself!

It's largely a misconception that Tame Impala is a band. We play as a band on stage, but it's really not how it is at all on the album. The album is just me.

I knew I was a good stage actor but I had no idea about movies. And I wasn't a Paul Newman type of guy. That's why I thought the stage is just right for me.

Performing on stage is such a buzz. I've done stupid things such as jump off a building, but I'd never experienced adrenalin like I did on stage.

My roots are on the live performing stage, so while I enjoy making films and the other things that I do, when I get on stage, I feel at home; I'm comfortable.

I feel like I've been able to bring an idea to the world stage and shine a light on a different way to play, an easier way. I want to change the game.

They were all dressed in their finest as though life really were some magical stage play in which every moment ought to be illuminated with its own bright spotlight.

I just wanted to play and play and play. When everyone left, I'd stay on the court and hit serves or play against the wall.

There's only one way to play this game since I was a little kid - play fast, play physical, play strong.

When you play Futures and Challengers for three, four years, you're playing in obscurity. You play the game for other reasons. You don't play the game for money or attention. You play the game because you like to play. You play the game because you enjoy the journey.

The "stage" on which you perform in film and TV is much smaller. Moving your eyes across the frame is equivalent to crossing from stage right to stage left in a big Broadway house. Coming from a theatrical background and temperament, this is something I am still learning. However, I think ultimately your responsibilities to the character and the overall story are the same in both mediums, so my approach felt very similar.

I survived on sandwiches, and I was on stage every night for six years of my life. I was working 16 hours a day between class, rehearsal, being on stage.

There is something about seeing real people on a stage that makes a bad play more intimately, more personally offensive than any other art form.

I saw Dolly Parton play at the Glastonbury Festival to about 120,000 people. It was an ocean of human beings. I was a mile away from the stage, and I swear to God, I could feel her energy.

Those times when I play on stage in front of lots of people, it's such an unusual and borderline unhealthy process, even though I love it and I really do it with humility. I don't have serfs getting me grapes after, or things like that.

I had got to the dawn of the beautiful not caring, but fully aware, stage, which degenerates so imperceptibly into the doing something unpermissible stage.

I think that in each stage of your career, you need certain things to improve your game and to develop your style of play.

My ideas are a curse. They spring from a radical discontent with the awful order of things. I play clown. I play carpenter. I play nurse. I play witch.

I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.

I'm very serious about becoming a dramatic actor. I don't want to play cameo parts walking on as Carl Lewis the athlete. I want to go on stage or screen and be taken seriously.