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Rehearsal Quotes

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Rehearsal Quotes

“In order to get “good” at grief, you have to practice grieving over and over again. This does not mean being constantly sad, but actively engaging with grief each time it appears, instead of avoiding it or pushing it away. It can be frustrating at first, because most of us are not explicitly taught how to grieve, but gradually, we can learn to remain upright in the face of our grief and become “good” at dealing with it.”

“Nothing I do is natural, realistic, organic or accidental. I'm never spontaneous, I'm completely premeditated.”

“We can never know what we want, because, living only one life, we can neither compare it with our previous lives nor perfect it in our lives to come. Was it better to be with Tereza or to remain alone? There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself?”

“She remembers rehearsals. Wrong notes turning to right ones, dissonance becoming harmony. She remembers “O Holy Night” sounding so perfect, in the end, her voice wrapping itself around Jonah’s like they were created just for this. She remembers his smile at her from across their shared mic. She remembers getting asked to reprise her duet with Jonah a year later. Just after everything happened with Luke. But then Mr. Boyden took her aside. Told her that Jonah had backed out. He’d said he was too busy for extra rehearsals, but she knew: it was because of her. She saw it in Jonah’s face, in the way he avoided her eyes. She saw it in everyone else’s faces too. She was a bullet he’d just dodged. She remembers standing up for the solo she was given instead—her last performance before she quit choir. She remembers opening her mouth, nothing coming out. She’d cleared her throat, tried again. Her voice emerged, but all wrong: small and shaky and sharp. With everyone looking at her, with the rumors still swirling, she felt exposed. She felt small and shaky and sharp. Vulnerable, but made of angles and thorns.”

“I've acted all my life. All the world's a stage.' 'It's not.' Bressac tapped his nose thoughtfully. 'There's no rehearsal, no proper audience, no intermission, one performance only. Behind the scenes there are only more scenes. You can't tell if it's a tragedy or a comedy, but you know that, sooner or later, it'll be an historical. Daggers have solid blades and the blood is real.”

“With Death Troupe, we come as close to the never-ending rehearsal as we can without going full improv. Your characters can’t become set because the culprit is different in every version of the play. Your lines can’t become rote recitation because the execution of those lines has to leave you ready to believably shift your character in any number of different directions. And even if we reach the point where every one of you could perform every variant of the play perfectly in your sleep, there’s an audience just feet away, working against you, trying to figure you out, trying to catch you in a slip JUST ONCE.”

“So here it is: A month of heartbreaking, gut-wrenching work that, if we do it right, leads to no definite conclusion. Eighteen-hour days and eighteen-hour nights. For you new members, this will feel like some kind of endurance race. We’ve got one month to break down this awful script, rebuild it, learn every one of its variations, and then rehearse the result until you can do it in your sleep. But even then we won’t be finished, because there’s a hostile crowd out there just dying to be the first ones to solve the mystery—which we will not let them do. Let’s get to work.”

“The life of any musician really doesn't fall into a normal schedule at all. Every week there are different rehearsals, different days and nights of performances, so we don't have a particular pattern that we can follow. For a conductor, it is a little bit worse because we have to allow for traveling.”

“I played Lucky in Waiting for Godot at Yale and it was a thing that Stanislavski talks about: he says you don't need his 'method' if you can count on your inspiration and it was a moment of inspiration that came to me, not in rehearsal but on stage. It hit me right there in the middle of the play and it was great - it travelled into immediate communication.”

“Every accent, every emphasis, every modulation of voice, was so perfectly well turned and well placed, that, without being interested in the subject, one could not help being pleased with the discourse; a pleasure of much the same kind with that received from an excellent piece of music. This is an advantage itinerant preachers have over those who are stationary, as the latter can not well improve their delivery of a sermon by so many rehearsals.”

“You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.”

“I've been quoting the book [on Peter Sutcliffe] constantly in rehearsals. Some members of the cast have stated their disapproval that it should even have been written. Some of the women have expressed more - disgust and anger. What are they saying? They'd prefer not to know, not to understand? They'd prefer certain areas of life to be censored? Isn't that partly what breeds the Sutcliffes and the Nilsens?”

“Contrary to vulgar legend the lives of great ballerinas are not entirely given up to a few minutes of graceful movement every night followed by champagne drunk out of their toeshoes till dawn, in the company of financiers ... no, most of their time is spent in filthy rehearsal halls, inhaling dust, or else in class, daily, year in year out, practicing, practicing even after they are already prima ballerinas.”