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Stage Quotes

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Stage Quotes

“Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.”

“I think all tennis players have to struggle through the early stages of their career. We start off playing tournaments and really just get by. I always had a dream to play in the big tournaments and never have doubted if it was worth it. Having to battle a little early on in my career makes it all the more worthwhile now.”

“A book is actually a place, a place where we, as adults, still have the chance to engage in active imagining, translating word to image, connecting these images to memories, dreams, and larger ideas. Television, film, even the stage play, have already been imagined for us, but the book, in whatever form we choose to interact with it, forces us to complete it.”

“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.”

“I'm one of those pathetic actors who will say yes to every play reading just because I do miss the stage so much. What I really miss about the theater is that in the end, it's yours to give. In television and film, it's yours to do and someone else's to take and someone else's to give. As much as I love television - the biggest luxury of all is to know that you have a job to go to - I do miss that connection and having that power over my own performance on stage.”

“In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.”

“In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.”

“When we teach a child to sing or play the flute, we teach her how to listen. When we teach her to draw, we teach her to see. When we teach a child to dance, we teach him about his body and about space, and when he acts on a stage, he learns about character and motivation. When we teach a child design, we reveal the geometry of the world. When we teach children about the folk and traditional arts and the great masterpieces of the world, we teach them to celebrate their roots and find their own place in history.”

“Our whole evolution has reached a stage where nearly every man is either ruler or ruled; sometimes he is both. By this the attitude of dependence has been greatly strengthened, for a truly free man does not like to play the part of either the ruler or the ruled. He is, above all, concerned with making his inner values and personal powers effective in a way as to permit him to use his own judgment in all affairs and to be independent in action.”

“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.”

“The Federal Building's large Ceremonial Courtroom, reserved for show trials, is veneered in executive teak. Bench, counsel tables, jury boxes, entrances, and exits -- all are as formally arranged as an Elizabethan stage. Only the drama is shapeless, at least to those of us who have never seen a trial before. We see only random movements, sequences, comings and goings, no form or agenda apparent. To us the action is less like watching a play than watching an aquarium.”

“The stage I chose--a subject fair and free-- 'Tis yours--'tis mine--'tis public property. All common exhibitions open lie, For praise or censure, to the common eye. Hence are a thousand hackney writers fed; Hence monthly critics earn their daily bread. This is a general tax which all must pay, From those who scribble, down to those who play.”

“I was 23, and I was in L.A. while on hiatus [as an understudy] from Biloxi Blues on Broadway. The guy that I'd been studying with had been fired for horsing around on stage with Matthew Broderick, and they were really anxious to get me back into the play. So I was in a great situation, and at the time, I definitely wasn't thinking about television”