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My mother's side of the family was in the production side of theatre. My grandfather, Jose Vega, was a general manager for Neil Simon shows on Broadway.
My working history as an actor is definitely in the theatre; it certainly was in Australia.
Movies are a complicated collision of literature, theatre, music and all the visual arts.
My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.
I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.
I come out of repertory theatre so I've been working under pressure my whole career.
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.
I did theatre in the U.S. because there, content-wise, it's very light. In India, theatre tends to get preachy.
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.
In 1986 I went to study at the Delhi University and that's where I took up theatre seriously.
I made a decision that I wanted to do five years of classical theatre before I did anything else, which was a very unfashionable thing to do.
Looking at the actors I most admire - Judi Dench, Ian Holm, that whole generation - they all started in rep and slowly built themselves into the position where they could juggle theatre and film.
Theatre demands different muscles and different aspects of one's personality.
Once in awhile, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often.
In the theatre the audience wants to be surprised - but by things that they expect.
I still think of myself as a stage actor. When I do film and television I try to implement what I was taught to do in theatre, to try to stretch into characters that are far from myself.
Poetry is all I write, whether for books or readings or for the National Theatre or for the opera house and concert hall or even for TV.
Both mediums, theatre and film, have really interesting sides to it that I really like to explore.
It was a different planet in 1967, the Broadway theatre. It had a little ashtray clamped to the back of every seat and the author got 10% of the gross.
I remember clearly watching a 'Sooty Show' at a theatre and telling my mum I wanted to be up with the puppets, not in the audience.
I love musical comedy; I love comedy in general, and I have varied taste in terms of books, film, theatre, and culture.
I suppose I became in danger of overexposure, which is why, I think, doing theatre for a year is quite a sensible move - just to remember what it's all about, really.
By early 1971, I had been acting professionally for 18 months - theatre work and my first telly, an episode of 'Dr. Who.'
What I've created comedically owes a lot to my ignorance of comedy and love of making theatre stuff.
Theatre can be so patronising. So often, it's just proselytising for the theatre.
I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.
The theatre is supremely fitted to say: 'Behold! These things are.' Yet most dramatists employ it to say: 'This moral truth can be learned from beholding this action.'
This visible world is wonderfully to be delighted in, and highly to be esteemed, because it is the theatre of God's righteous Kingdom.
I sincerely believe that for the New York theatre to remain relevant, all our major producing institutions should be presenting new American plays.
In America, the average playwright makes less than a receptionist in a non-profit theatre. We don't have decent health insurance - or any health insurance at all.
Religion is close to theatre; much of its power comes from the effects of staging and framing.
Thirty years ago dinner theatre used to be much more of a going concern than it is now.
I didn't go to drama school to be a musical theatre performer. I enjoyed it, but I didn't go to do that; I went to be an actor.
In school, I always sang in choirs. In fact, I used to do a lot of musicals in the youth theatre that I was a member of between the ages of 16 and 18.
I'm sad about my theatre career, but I've also fallen a bit in love with TV!
I always admired Hugh Jackman as an actor in movies but also in theatre because I'm a big fan of Broadway musicals.
I did a drama degree, went to secretarial college, then got a job with a theatre company in Birmingham. It's been a slow burn, which doesn't seem to have gone out.
If I don't do a bit of theatre at least once a year, I feel depleted and starved.
I love being able to do a bit of theatre, do a bit of telly, and do a bit of film.
I was very excited and interested as a background dancer or as a theatre actor or when I was working on TV, or even on the film which didn't do well, like 'Byomkesh.'
In Providence, we didn't have a first-run movie theater. But we did have an indie movie theatre on the Brown campus. That was the theater we'd go to. I think, as highbrow as it sounds, that I grew up on the films.
My approach to 'Eastenders' is the same as my approach to film and the same approach to theatre. Whatever I do, I use the same skills and tools.
I love the instant gratification of theatre - it reminds me of why I enjoy filming in the first place.
Going on to train with Lecoq in Paris meant I discovered European theatre at a formative moment growing up.
I trained at RADA, then went into the theatre, but TV is like starting at the bottom again. I have just been learning.
I love the flamboyance, the melodrama, the bloody theatre of Russian history.
I'm passionate about music, and I feel that theatre has an extraordinarily musical ability in the way it operates on the audience.
I feel that if you can play on the streets or in a comedy club, then in a theatre it's a doddle because you've got an audience.
In the theatre, we're all charlatans and liars and scavengers and fly-by-nights.
By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players.
I have acted in several theatre groups in Bengaluru and my passion has always been films.
When I moved to Bengaluru to study law, I was looking forward to joining a theatre troupe.
I combined theatre and films with live TV, such as 'The Royal Variety Show,' performing sketches opposite Bob Hope and Maurice Chevalier.
In my 20s, I was a monk. I was obsessed with theatre, not being famous, not with television. I was 20 years on the stage before I set foot in front of a camera.
I have done 16 films with David Dhawan and I have tried to do every character differently, be it Sharafat Ali, Mutthu Swamy or Calender, because of my theatre experience.
After a two-year stint at Cheek by Jowl theatre company in London, I put all my energies into breaking into New York's theatre scene. It took me eight years to build enough to play lead roles.
I am interested in independent cinema and theatre, and they don't make news.
I love theatre because of the audience. It feels risky. But I love film because it travels to the whole world. To an audience I don't see.
American Ballet Theatre's rehearsal studios are at 890 Broadway, an old building where exposed pipes clank and hiss in uneven accompaniment to piano music. The high ceilings wear a toupee of dust. The wall paint peels like a newbie ballerina's toes.
I've learnt that there's acting for film, acting for theatre, and acting for an audition.
I was mad about the theatre growing up, really mad. We had a local theatre, the Torch, and I used to usher there. I would see the shows over and over again.
What I do believe is theatre is a medium with a peculiar ability to air vital issues.
I came to write after several mini careers. I did live theatre, managed a cosmetics store and was a local television personality.
I was born and raised in Las Vegas, and then I left there to go to the University of Evansville where I majored in theatre.
I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!
If you're working in theatre, you have all your days to spend with your children.
I get grumpy about the innate conservatism of our tastes; I love bold theatre, and I get annoyed when a heritage piece is really successful.
For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
Everything happens every night for this audience, and it's a very special occasion to come to the theatre.
I directed Bebe Neuwirth in 'Here Lies Jenny' at the Post Street Theatre. I was gobsmacked - the audiences were extremely knowledgeable, affectionate, interested, and not cynical.
I guess I'm kind of a mutt. I was born in the U.S., my parents are from Mexico, and I grew up in Switzerland. It's weird because I sound American, but I spell theater 'theatre' with the 'r' before the 'e'.
I'm allergic to the word 'important' in film and theatre. Cancer research is important.
As a kid, the theatre always felt a bit like running away to join the circus.
I never questioned if I was effeminate or not. That didn't matter in the theatre.
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