Charles Baudelaire Quotes

It's funny how that comes up, because sometimes I'll write something and I'll think, I don't know if that's a film or a play, and then other things I feel very strongly about them just being plays - they feel very theatrical to me.

Polly Findlay showed real insight and imagination in her production of my translation of Seneca's Thyestes at the Arcola. I enjoyed her use of the space and the detail of her work with the actors, and I'm looking forward to seeing what she does with Light Shining.

Theatre is, occasionally, capable of moments of truth.

I am most passionate about dancing and acting, so performing was my focus, always. Even before I was old enough to be serious about it, I was always meddling with things - dancing all over the place and performing for my family.

I am not indulgent. I think constructing a scene elaborately - with art, costume, and visual drama - is not indulgence. Other people should do it, too.

We are not brain surgeons. We are not curing cancer. We are not finding the next cure for Alzheimer's. We are simply and merely entertainment. We take on and wear the masks of characters. That's what we're paid to do.

Opera is a very stimulating place to work, and I believe it offers the most intense theatrical experience possible.

Theatre has to be theatrical. It has to draw attention to itself, like poetry.

The theater, which is in no thing, but makes use of everything - gestures, sounds, words, screams, light, darkness - rediscovers itself at precisely the point where the mind requires a language to express its manifestations.... To break through language in order to touch life is to create or recreate the theatre.

If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the worldis provided by a writer. Farce is acted. The writer's contribution seems not only absorbed but translated.... One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.

On the stage . . . masks are assumed with some regard to procedure; in everyday life, the participants act their parts without consideration either for suitability of scene or for the words spoken by the rest of the cast: the result is a general tendency for things to be brought to the level of farce even when the theme is serious enough.

I was very dramatic as a kid. I loved to entertain. I was taking my bathing suits and painting them black and putting sparkles on them because I thought I was going to be on stage.

I deliberately look for colorful people. They're very right for theatre. Theatre has to be theatrical. If you can get color into the accountant, you've got something. Write the whole thing first and then say he's an accountant. That's a very wacky accountant, but so what? Theatricality feeds and challenges the actor, the director, and the designers.

The excitement of theatre is palpable but the frustrations, and the complete absence of a definitive evening - the play as text means practically nothing in a way - , there's no particular performance that is definitive in the way a novel is a solid object you hold in your hands and here it is. You can't say that about a play. If the novel gives us a sense of throbbing consciousness, theater is pure soul, beautiful and elusive.

I like entertaining people. I like being on stage. I like being in the life. This is what I do. This is the only thing I know how to do besides rob people and fight. Even when I was robbing people, I was entertaining them. But that's just what I love doing.

The theatre, when all is said and done, is not life in miniature, but life enormously magnified, life hideously exaggerated.

I am pure performance, and Robert Wilson is pure theater.

The psychedelic species of visual beauty is something we don't see in our furniture styles and our architecture. It seems to be coming in, literally, from another dimension, and yet it is undeniably moving. It's beautiful.

It is through you, actors, that the forces which are understood by millions and that tell of everything that is beautiful on earth, find expression. The forces which reveal to people the happiness of living in a widened consciousness and in the joy of creative work for the whole world. You, the actors of a theatre, which is one of the centres of human culture, will never be understood by the people if you are unable to reflect the spiritual needs of your time, the now in which you are living.

Theatre is a concentrate of life as normal. Theatre is a purified version of real life, an extraction, an essence of human behaviour that is stranger and more tragic and more perfect than everything that is ordinary about me and you.

There we were - demented children mincing about in clothes that no one ever wore, speaking as no man ever spoke, swearing love in wigs and rhymed couplets, killing each other with wooden swords, hollow protestations of faith hurled after empty promises of vengeance - and every gesture, every pose, vanishing into the thin unpopulated air. We ransomed our dignity to the clouds, and the uncomprehending birds listened. Don't you see?! We're actors - we're the opposite of people!

As an actor, I feel like youre asked to live life as vibrantly as possible.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

All the world's a stage.

I had danced when I was younger, until I was about 12, and I always idealized it, as most young girls do, as the most beautiful art. It's an expression without words.