Please find below a curated list of 1,671 of The Best Theater Quotes by notable women and men. Please consider sharing with others any of the Theater Quotes that resonate.
The illusion of freedom will continue as long as it’s profitable to continue the illusion. At the point where the illusion becomes too expensive to maintain, they will just take down the scenery, they will pull back the curtains, they will move the tables and chairs out of the way and you will see the brick wall at the back of the theater.
Washington has become our Versailles. We are ruled, entertained, and informed by courtiers — and the media has evolved into a class of courtiers. The Democrats, like the Republicans, are mostly courtiers. Our pundits and experts, at least those with prominent public platforms, are courtiers. We are captivated by the hollow stagecraft of political theater as we are ruthlessly stripped of power. It is smoke and mirrors, tricks and con games, and the purpose behind it is deception.
I was 20 years old, working as a roofer and a telemarketer and driving a taxi, just barely getting by. A friend of a friend suggested I try acting. I was like, ‘Why? What am I going to do? Community theater?’ But I took a class, and the teacher thought that I had potential, so I moved to Vancouver and started auditioning.
D.H. Lawrence had the impression – that psychoanalysis was shutting sexuality up in a bizarre sort of box painted with bourgeois motifs, in a kind of rather repugnant artificial triangle, thereby stifling the whole of sexuality as a production of desire so as to recast it along entirely different lines, making of it a ‘dirty little secret’, a dirty little family secret, a private theater rather than the fantastic factory of nature and production
Applause is an instinctive, unconscious act expressing the sympathy between actors and audience. Just as our art demands more instinct than intellect in its exercise, so we demand of those who watch us an apppreciation of the simple unconscious kind which finds an outlet in clapping rather than the cold intellectual approval which would self-consciously think applause derogatory. I have yet to meet the actor who was sincere in saying that he disliked applause.
Wray Nerely, the character in Con Man, he actually had a role in Rogue One, but he got cut. It sucked. John Swartz, the producer, is a big fan of Con Man. I even got to screen Con Man while we were shooting Star Wars. They had a theater there, and they let me screen one of the little 10-minute episodes for everyone. What sucked was I had to follow Star Wars.
A lot of the time you see a warning, in the subway, or in a movie theater, the main thrust of the warning will be to not panic if there is an emergency. To listen to directions. Now that’s a waste. They could have given you information, but you can see their expectation that you’re going to screw up.
DeFrantz’s study…is not the first book about the protean Ailey, who was born in hardscrabble Texas in 1931 and died in 1989 after creating close to 80 works. But it is perhaps the most comprehensive, combining biography, criticism, the analysis of dance criticism, and a sort of corporate history, siting the now firmly established Alvin Ailey American Dance Theater in the international cultural landscape.
It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.