A stage play ought to be the point of intersection between the visible and invisible worlds, or, in other words, the display, the manifestation of the hidden.
All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.
A stage play is basically a form of uber-schizophrenia. You split yourself into two minds - one being the protagonist and the other being the antagonist. The playwright also splits himself into two other minds: the mind of the writer and the mind of the audience.
You need three things in the theatre - the play, the actors and the audience, and each must give something.
One man in his time plays many parts.
There will always be a theatrical experience because there will always be cinemas no matter what. It's like there will always be theaters to have stage plays in.
All the world's a stage, and all the men and women mearly players.
Life's but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more; it is a tale told by an idiot, full of sound and fury, signifying nothing.
It is a tale told by an idiot, full of sound and fury; signifying nothing.
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.
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.
It takes a lot out of you to do a stage play, but I'd love to do that. I'd love to continue to do challenging material, whatever shape or form that comes in.
Acting in a stage play is like working the evening shift in an office.
Without the heart it’s not worship, it’s a stage play.
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.
The 10 or 12 artists I have known really well all my life are at least as competitive as professional athletes. They may express it in slightly different terms, but you look at the Jackson Pollocks et al., and they are as interested in wall space in the galleries as Joe Montana is in the percentage of completed passes. So the notion that symphonic conducting, or stage play, or pure art, is not a competitive business is real bullshit.
A symphony is a stage play with the parts written for instruments instead of for actors.
I wrote my first book at eight, all of four pages. At 10, I did a 40-page story. At 12, I wrote two stage plays.
My first lead role was a stage play called A Kestrel for a Knave. I was 11.
There's never been a film with Dr. Martin Luther King, Jr. at the center released in theaters. Ever! One does not exist. You've only seen tele-films and stage plays about him. Yet, we have big screens biopics about all kinds of people. So, I think it's only right that there be a full-length feature about Dr. King. I don't think there could be enough of them, but there should be at least one. So, here it is!
It worries me a little bit the reach and power of TV. More people saw me in The Practice than will ever see me in all the stage plays I ever do. Which is sort of humbling. Or troubling. Or both.
A stage play requires very different craft from a book, fiction or otherwise, and ditto from a screenplay.
Pain itself can be pleasurable accidentally in so far as it is accompanied by wonder, as in stage-plays; or in so far as it recalls a beloved object to one's memory, and makes one feel one's love for the thing, whose absence gives us pain. Consequently, since love is pleasant, both pain and whatever else results from love, in so far as they remind us of our love, are pleasant.
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 came to Mozambique in 1986, when I first became involved with Teatro Avenida - a theatre company that stages plays concerned with political and social issues.
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