Trey Anastasio Quotes

A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.

And so I've always been fascinated by the technical end of theater, and a lot of my closest friends are not actors, but in the other end of the business.

I want to toy around with producing a Broadway show.

I went into performing for the community. Being backstage with your company of fellows is the best part of working in live theater. That energy, that combined focus, the synergy - it's addictive.

I was a drama-class nerd. I did whatever school production we put on.

Making films is great. You've got 100 people around and you're all dressing up and making weird art-it's a fun group activity.

I really don't want to write a score until the whole show is cast and staged.

Where I teach students in drama school, there's a course called Dramatics. In this course, all students must put on a play. However, acting majors are not supposed to act. They can write the play, for example, and the writers may work on stage art. Likewise, stage art majors may become actors, and in this way you put on a show.

I don't look back. I look forward and plan new shows. That's really feeding the most important part of working in the theater.

I never found a professional environment that made the production of plays efficient. Teamwork is demanded, but there are very few teams.

I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?

Acting isn't a singular profession, it is a collaborate profession.

One of the things about working on stage - actually, about working in show business, that is - is that it's such a collaborative effort. I suppose that everything in life is - every endeavor where people are able to be successful.

I love working in the theater.

Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

I love writing plays because they are living, fluid things that are energised by the producer, designers, musicians, actors and audience.

Do some work in the theater if you can. It is the best training you can get.

Gosh, I'd like to direct Our Town on stage.

I trained in the theatre.

I got intrigued by working in small theatres.

I'm constantly involved in theater, looking at theater, trying to do work in theater, support theater. And that's kind of my creative passion.

The thing that is so touching about - I can come right up and call him Mr. Simon. The thing that's great about Mr. Simon is he really uses the audience as a partner, and they tell him what's working and what's not. So he's always working on a play.

I was a member of Circle Rep; I had done a little bit of directing there. I remember that I had a vacation from 'Angels', in which I remounted a play that I had done out of town called 'Three Hotels.' That's how I spent my week vacation.

My first real job as a director was working with Robbie Baitz on his play 'Three Hotels.' It was an incredible collaboration.

It's great being an actor and being part of a play or a film where there's usually quite a big group of people who are collaborating, and your job is really to fit in and share that energy. With music, because I write the songs, it's a broader, more abstract process.