Quotes about theater
page 3

“In the first Manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin, we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

1910, Manifesto of Futurist Painters,' April 1910
Source: Rainey et al. (eds.) Futurism: An Anthology, (2009), p. 64 : Lead paragraph

Happiness, Art, Country

“They say there are strangers who threaten us
In our immigrants and infidels
They say there is strangeness too dangerous
In our theaters and bookstore shelves
That those who know what's best for us
Must rise and save us from ourselves
-- Witch Hunt (Part III of 'Fear') (1980)”

Neil Peart (1952–2020) Canadian-American drummer , lyricist, and author

Rush Lyrics

Fear, Parting

“He was like twitching and frothing and it was my father, … I went like all pale. I felt all the blood leave my body. And then my father was like, 'How dare you?' And he stormed out of the theater and I followed him and we fought and argued and hugged and he cried and we made up.”

John Leguizamo Freak

Freak, and proud of it - November 2, 1998. http://www.cnn.com/SHOWBIZ/Movies/9811/02/freak/index.html

“Well, it wasn’t that I sought out voice acting. I started in the voice world because at puberty I went from a very high voice to drop down to what’s considered “an announcer voice.” And so I said, I’ve got this “announcer voice,” so I’ll go into broadcasting. And so I went to college and majored in radio and TV, and minored in theater. As time went on, I got more interested in the less regimented and more creative world of theater as opposed to broadcasting. I got my degree, but I decided that I wanted to be an actor.”

Rodger Bumpass (1951) American character actor and voice actor

World, Time

“When a movie is this bad, it's hard to adequately describe its awfulness in words. The temptation exists to write something along the lines of: "Something this horrible has to be seen to be believed." Of course, that kind of advice would lead to e-mail death threats and other assorted nasty comments from those who spend money on The Devil's Rejects. … Aside from its poor production values, horrendous acting, and ignoble morality, The Devil's Rejects isn't engaging cinema. Even if the simple act of sitting in a movie theater watching people get hacked up for 90 minutes doesn't bother you, the dullness and repetition is likely to.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=934 of The Devil's Rejects (2005). <br class="br">Half-star reviews

Death, Money, People

“I've always known I wanted to go into acting, but being a very proud teenager I wasn't ready to admit it until I felt like it was going to be possible. I acted in school and I did some short films in Portugal and some Portuguese theater and things like that, [but] obviously there's only so far you can go, so I moved to London and pursued it here. It all fell into place very quickly. I got an agent and from that point on I got very ballsy and said, "I'll get the work with or without you so you better send me to these auditions." Somehow, I got the first one I went for—I think I was so blinded by adrenaline and excitement. She was an East End showgirl. I just winged it. I remember getting to set and realizing that I was the least experienced one. I remember thinking, "Oh my God, what have I done? What have I gotten myself into?"”

Annabelle Wallis (1984) British Actress

It worked; I'm still here. <br class="br"> Discovery: Annabelle Wallis http://www.interviewmagazine.com/culture/discovery-annabelle-wallis/ (November 13, 2014)

God, School, Thinking

“Playing the lottery is gambling, and I'm not a gambler. I assessed my life, knew I wanted to become a successful writer, and believed that I had a winner for a story. All I imagined was getting a huge publishing deal and attending the premier of my movie. In fact, every time my wife and I went to the movies, I'd tell her that, one day, we'll be in a theater in Hollywood watching MEG. Does that mean that I wasn't scared? Of course not. The process is similar to crawling out on a limb of a very high tree. You know you're out there and that it's a huge drop if you fall. Out along the weakest branches grows the fruit. If you really intend on making it all the way out to the fruit, you can't hold onto the trunk, you have to let go. At the same time, you have to be smart enough not to look down (negatives), which, of course, everyone you know is screaming at you to do. If you don't want to fall, then keep looking at the fruit. This all may sound hooky, but it works and it's how I've chosen to live my life, ever since I was 13 years old.”

Steve Alten (1959) American writer

Interview with Steve Alten http://www.screenwritersutopia.com/article/d14867f2 (March 11th, 2004)

Life, Way, Imagination, Tree

“I was fortunate enough to be trained in the theater. Coming from the theater background, you’re schooled to play diverse roles in preparation for the repertory environment, or the repertory type of lifestyle. So, to me, going back and forth from genre to genre is only keeping true to the way I was trained in the theater. And I’m really an action fan. I’m a movie fan in general, but I’m definitely an action fan, as well.”

Wesley Snipes (1962) film actor, Martial artist, film producer

Wesley Snipes, Snipes in 2014 An Interview with Wesley Snipes: ‘The Expendables 3’ Interview http://www.theaquarian.com/2014/08/27/an-interview-with-wesley-snipes-the-expendables-3-interview/, The Aquarian Weekly, 27 August 2014

School, Way, Training

“Reagan plays with fire. He doesn't care about international peace. He plays as if he was in the theater. Reagan wants to dominate the world. He wants to find justification to make war. If he does this, if it goes on like this, a cataclysm will take place. Reagan should come and see that I am not a terrorist in a trench with a grenade in my pocket.”

Muammar Gaddafi (1942–2011) Libyan revolutionary, politician and political theorist

The Pittsburgh Press (3 August 1986) "Gadhafi, the man the world loves to hate" by Marie Colvin (UPI)

War, World, Peace

“Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theater and learn to become 'stage-worthy.”

Viola Spolin (1906–1994) American academic and acting theorist

Improvisation for the Theater (1963), page 3
Context: Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theater and learn to become 'stage-worthy.' We learn through experience and experiencing, and no one teaches anyone anything. This is as true for the infant moving from kicking and crawling to walking as it is for the scientist with his equations. If the environment permits it, anyone can learn whatever he chooses to learn; and if the individual permits it, the environment will teach him everything it has to teach. 'Talent' or 'lack of talent' have little to do with it.

Learning

“We set sail on this new sea because there is new knowledge to be gained, and new rights to be won, and they must be won and used for the progress of all people. For space science, like nuclear science and all technology, has no conscience of its own. Whether it will become a force for good or ill depends on man, and only if the United States occupies a position of pre-eminence can we help decide whether this new ocean will be a sea of peace or a new terrifying theater of war.”

John F. Kennedy (1917–1963) 35th president of the United States of America

1962, Rice University speech
Context: We set sail on this new sea because there is new knowledge to be gained, and new rights to be won, and they must be won and used for the progress of all people. For space science, like nuclear science and all technology, has no conscience of its own. Whether it will become a force for good or ill depends on man, and only if the United States occupies a position of pre-eminence can we help decide whether this new ocean will be a sea of peace or a new terrifying theater of war. I do not say that we should or will go unprotected against the hostile misuse of space any more than we go unprotected against the hostile use of land or sea, but I do say that space can be explored and mastered without feeding the fires of war, without repeating the mistakes that man has made in extending his writ around this globe of ours.

War, People, Peace, Knowledge

“My privilege is to be spectator of my life drama, to be fully conscious of the tragi-comedy of my own destiny, and, more than that, to be in the secret of the tragi-comic itself, that is to say, to be unable to take my illusions seriously, to see myself, so to speak, from the theater on the stage, or to be like a man looking from beyond the tomb into existence. I feel myself forced to feign a particular interest in my individual part, while all the time I am living in the confidence of the poet who is playing with all these agents which seem so important, and knows all that they are ignorant of.”

Henri-Frédéric Amiel (1821–1881) Swiss philosopher and poet

8 November 1852
Journal Intime (1882), Journal entries
Context: My privilege is to be spectator of my life drama, to be fully conscious of the tragi-comedy of my own destiny, and, more than that, to be in the secret of the tragi-comic itself, that is to say, to be unable to take my illusions seriously, to see myself, so to speak, from the theater on the stage, or to be like a man looking from beyond the tomb into existence. I feel myself forced to feign a particular interest in my individual part, while all the time I am living in the confidence of the poet who is playing with all these agents which seem so important, and knows all that they are ignorant of. It is a strange position, and one which becomes painful as soon as grief obliges me to betake myself once more to my own little rôle, binding me closely to it, and warning me that I am going too far in imagining myself, because of my conversations with the poet, dispensed from taking up again my modest part of valet in the piece. Shakespeare must have experienced this feeling often, and Hamlet, I think, must express it somewhere. It is a Doppelgängerei, quite German in character, and which explains the disgust with reality and the repugnance to public life, so common among the thinkers of Germany. There is, as it were, a degradation a gnostic fall, in thus folding one's wings and going back again into the vulgar shell of one's own individuality. Without grief, which is the string of this venturesome kite, man would soar too quickly and too high, and the chosen souls would be lost for the race, like balloons which, save for gravitation, would never return from the empyrean.

Life, Secret, Feeling, Confidence

“Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.”

Julie Taymor (1952) American film and theatre director

Academy of Achievement interview (2006)
Context: You know, we still hear the word "puppet" and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.

Animals

“Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it.”

Julie Taymor (1952) American film and theatre director

Academy of Achievement interview (2006)
Context: !-- One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it. … What theater does best is to be abstract and not to do literal reality. … -->Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it. … each art form makes me more interested in the other art form because I try and bring in those techniques and those ideas and put them into a different way of using them.

“They don't have the patience to really check out what's happenin' through music, theater and science.”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

As quoted in "WHAT HENDRIX NEVER SAID : They Don't Want to Know What He Really Said and Demand a Slacker Fantasy Instead" (22 March 2010) by Michael Fairchild, at rockprophecy.com; the author does not provide any sourcing for this statement, beyond his assertion that his authority and expertise should be trusted because: "I was assigned to compile all known quotes of Jimi Hendrix and edit this text into the "autobiography" of Jimi, in his own words. That book has been censored/suppressed by all world publishers for two decades now, but it's where I became familiar with Jimi's unique syntax, vernacular, and habits of thought."
Disputed
Context: There's so many tight-lipped ideas and laws around, and people put themselves in uniforms so tightly, that it's almost impossible to break out of that. Subconsciously, what these people are doing, they're killin' off all these little flashes they have, cutting off the idea of wanting to understand. They forgot, didn't believe, or just snuffed the feelings or thoughts off to continue with their crazy soul. They don't have the patience to really check out what's happenin' through music, theater and science. It’s like a spaceship. If a spaceship came down and you know nothin’ about it, the first thing you’re going to think about is shooting it. In other words, you get negative in the first place, which is not really the natural way of thinking. It’s like shooting at a flying saucer as it tries to land without giving the occupants a chance to identify themselves.

Music, Science, Patience

“I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.”

Eugéne Ionesco (1909–1994) Romanian playwright

The Paris Review interview (1984)
Context: The theater chose me. As I said, I started with poetry, and I also wrote criticism and dialogue. But I realized that I was most successful at dialogue. Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.

Behavior

“It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality.”

Bertolt Brecht (1898–1956) German poet, playwright, theatre director

Essays on the Art of Theater (1954).
Context: It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.

Understanding, Reality, Change

“India is Gandhi's country of birth; South Africa his country of adoption. He was both an Indian and a South African citizen. Both countries contributed to his intellectual and moral genius, and he shaped the liberatory movements in both colonial theaters.”

Nelson Mandela (1918–2013) President of South Africa, anti-apartheid activist

2000s, The Sacred Warrior (2000)
Context: India is Gandhi's country of birth; South Africa his country of adoption. He was both an Indian and a South African citizen. Both countries contributed to his intellectual and moral genius, and he shaped the liberatory movements in both colonial theaters.
He is the archetypal anticolonial revolutionary. His strategy of noncooperation, his assertion that we can be dominated only if we cooperate with our dominators, and his nonviolent resistance inspired anticolonial and antiracist movements internationally in our century.

Birth, Country

“We must preserve the right of free speech and the right of free assembly. But the right of free speech does not carry with it, as has been said, the right to holler fire in a crowded theater. We must preserve the right to free assembly, but free assembly does not carry with it the right to block public thoroughfares to traffic. We do have a right to protest, and a right to march under conditions that do not infringe the constitutional rights of our neighbors.”

Lyndon B. Johnson (1908–1973) American politician, 36th president of the United States (in office from 1963 to 1969)

1960s, The American Promise (1965)
Context: We must preserve the right of free speech and the right of free assembly. But the right of free speech does not carry with it, as has been said, the right to holler fire in a crowded theater. We must preserve the right to free assembly, but free assembly does not carry with it the right to block public thoroughfares to traffic. We do have a right to protest, and a right to march under conditions that do not infringe the constitutional rights of our neighbors. And I intend to protect all those rights as long as I am permitted to serve in this office. We will guard against violence, knowing it strikes from our hands the very weapons which we seek — progress, obedience to law, and belief in American values.

“Rock needs theater, rock is theater. We just go through different eras of guilty admission about this.”

Amanda Palmer (1976) American punk-cabaret musician

As quoted in "Amanda Palmer Freaks Out With Evelyn Evelyn" by Scott Thill in WIRED (29 March 2010) http://www.wired.com/2010/03/amanda-palmer/ <br class="br">Context: Rock needs theater, rock is theater. We just go through different eras of guilty admission about this. Having risen with The Dresden Dolls in the heyday of The Strokes and The White Stripes, everyone was looking at us as completely misfit theater dorks. But it’s really encouraging to see a more theater-dork wave of bands like The Scissor Sisters, Antony & The Johnsons, CocoRosie, Patrick Wolf and even Arcade Fire and Decembrists becoming popular. The dress-up freaks are coming back, and it’s wonderful to watch.

“I am often asked why I nearly always select old material, fairy tales and legends for my stage works. I do not look upon them as old, but rather as valid material. The time element disappears, and only the spiritual power remains. My entire interest is in the expression of spiritual realities. I write for the theater in order to convey a spiritual attitude.”

Carl Orff (1895–1982) German composer

As quoted in "Carl Orff" by Everett Helm in The Musical Quarterly Vol. 41, No. 3 (July 1955)

Reality, Time

“That theater doesn't make for authentic public discourse.”

Jon Stewart (1962) American political satirist, writer, television host, actor, media critic and stand-up comedian

Hartford Advocate Interview (2008)
Context: Stewart: The real issue is that TV news can either bring clarity or noise. And it tends to not seem to know the difference between them. … We do a show that doesn't try to bring noise. I think that we have a more consistent point of view than most news shows, I'll say that.
Bulger: What's that point of view?
Stewart: That theater doesn't make for authentic public discourse.

“The idea of Yippie was to be a form of theater politics”

Phil Ochs (1940–1976) American protest singer and songwriter

Testimony at the Chicago Seven trial (11 December 1969)
Context: MR. KUNSTLER: Now, Mr. Ochs, have you ever been associated with what is called the Youth International Party, or, as we will say, the Yippies?
THE WITNESS: Yes. I helped design the party, formulate the idea of what Yippie was going to be, in the early part of 1968.
MR. KUNSTLER: Can you indicate to the Court and jury what Yippie was going to be, what its purpose was for its formation?
THE WITNESS: The idea of Yippie was to be a form of theater politics, theatrically dealing with what seemed to be an increasingly absurd world and trying to deal with it in other than just on a straight moral level. They wanted to be able to act out fantasies in the street to communicate their feelings to the public.

Idea

“Ellen Stewart has been a very important figure in my life. She had so much to say about art and theater but most of all she showed me that love is the most powerful tool in life.”

Giovanni Morassutti (1980) Italian actor, theatre director and cultural entrepreneur.

In response to the question, "Who are some of the most interesting people you have interacted with?", from the interview "Rising Star Giovanni Morassutti: “Never take it personally; It is part of the business", ThriveGlobal (December 23, 2019) https://thriveglobal.com/stories/rising-star-giovanni-morassutti-never-take-it-personally-it-is-part-of-the-business/.

Love, Life, Making love, Art

“In connection with the matter of command in the field, there is perhaps a popular misconception that the Army and the Navy were intermingled in a standard form of joint operational organization in every theater throughout the world. Actually, the situation was never the same in any two areas. For example, after General of the Army Dwight D. Eisenhower had completed his landing in Normandy, his operation became purely a land campaign. The Navy was responsible for maintaining the line of communications across the ocean and for certain supply operations in the ports of Europe, and small naval groups became part of the land army for certain special purposes, such as the boat groups which helped in the crossing of the Rhine. But the strategy and tactics of the great battles leading up to the surrender of Germany were primarily army affairs and no naval officer had anything directly to do with the command of this land campaign. A different situation existed in the Pacific, where, in the process of capturing small atolls, the fighting was almost entirely within range of naval gunfire; that is to say, the whole operation of capturing an atoll was amphibious in nature, with artillery and air-support primarily naval. This situation called for a mixed Army-Navy organization which was entrusted to the command of Fleet Admiral Nimitz. A still different situation existed in the early days of the war during the Solomon Islands campaign where Army and Navy became, of necessity, so thoroughly intermingled that they were, to all practical purposes, a single service directed by Admiral William F. Halsey, Jr. Under General of the Army Douglas MacArthur, Army, Army Aviation, and the naval components of his command were separate entities tied together only at the top in the person of General MacArthur himself. In the Mediterranean the scheme of command differed somewhat from all the others.”

Ernest King (1878–1956) United States Navy admiral, Chief of Naval Operations

Third Report, p. 172
U.S. Navy at War, 1941-1945: Official Reports to the Secretary of the Navy (1946)

War, World, Communication, Support

“Luis Valdez said it long ago: The beauty and the frustration of theater is it is one permanent long shot…You never get up close in someone’s eyes. And that kind of blew me away (while shooting) a close-up. That was all new storytelling for me, and I had to figure it out on a very fast learning curve.”

Richard Montoya (1959) actor

On how he transitioned into filmmaking in “Culture Clash’s Richard Montoya becomes a movie multitasker” https://www.sacbee.com/entertainment/movies-news-reviews/article18414926.html in The Sacramento Bee (2015 Apr 13)

Beauty, Learning

“If I could change one thing about U.S. theater, theater companies would produce a wider, broader range of plays by women and men who fully represent the cultural complexity of twenty-first century U.S. culture. Theatergoers would then have access to a huge selection of diverse theatrical worlds that would challenge, entertain, delight and intrigue them…”

Anne García-Romero

On making American theater more inclusive in “I Interview Playwrights Part 287: Anne Garcia-Romero” http://aszym.blogspot.com/2010/11/i-interview-playwrights-part-287-anne.html (Adam Szymkowicz, 2010)

Women, Men, World, Change

“Film and television essentially feel the same when you’re doing it, because it’s the same technical approach. All the homework is the same. The homework for each medium is all similar, but the gratification in a live theater context is much higher, because it’s immediate. It’s far more dangerous, because there are no retakes. It’s electric, it’s an actual chemical transaction that occurs between you and the audience. Whatever energy you’re throwing out to them they throw it right back to you, and it kind of feeds on itself in this vacuum…”

Benjamin Bratt (1963) American actor

On acting in various mediums in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend

Feeling

“It seems to me that the biggest challenge for Chinese theater is to cultivate an audience, which would make possible long-running shows. A show that only runs for a few months, tops, fails to generate enough revenue to pay back the investment required to create it. A Chinese Broadway or West End may help to build an audience, but more theaters alone probably will not achieve this goal.”

David Henry Hwang (1957) Playwright

On how to cultivate Chinese theater in the United States in “DAVID HENRY HWANG ON THEATRE, TRUMP, AND ASIAN-AMERICAN IDENTITY” https://thetheatretimes.com/david-henry-hwang-on-theatre-trump-and-asian-american-identity/ in Theatre World (2019 Mar 15)

Making love, Help

“I think TV series, games, and general media have changed the way we tell stories. But books will remain. Technology has changed all the others arts: painting, theater, dancing, cinema, music. But literature is an absolutely intimate process between the writer’s voice and the reader’s mind, it is something so natural and strong that the only thing that technology could change is its support, its format, for example, if we read from a book or from an e-reader. But that doesn’t change the heart of literature.”

Samanta Schweblin (1978) Argentine writer

On the staying power of literature in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

Books, Art, Music, Way

“The thing is that there aren’t many stories told that are being shown to everybody from this, so any opportunity that I have to see a project that we could just release that to people that they could see a slice of life that they may not recognize or they may not know. It’s about family, it’s about being good people, it’s about culture, whether it’s music, theater, arts. And the opportunity to show that in a neighborhood and in a culture that I grew up in is very important to me.”

David Zayas (1962) Puerto Rican actor

On his film Shine in “INTERVIEW: David Zayas Talks To Me about ‘SHINE’” https://www.ramascreen.com/interview-david-zayas-talks-to-me-about-shine/ in Rama’s Screen (2018 Oct 1)

Life, People, Family, Art

“Coming to the theater humanizes people…Culture informs perspective, and the world is a complicated place. Telling the story on stage increases understanding…”

Karen Zacarias (1969) Mexican-American playwright

On how she views theater in “BWW Interview: A Date with DESTINY: Talking with Playwright Karen Zacarías” https://www.broadwayworld.com/washington-dc/article/BWW-Interview-A-Date-with-DESTINY-Talking-with-Playwright-Karen-Zacaras-20150914 in Broadway World (2015 Sep 14)

People, World, Understanding

“Television has lapped theater in a lot of storytelling techniques — realism, depth of character, complicated storytelling…What we have that’s different in the theater is the audience in the space with us. And I’m not interested in ignoring the space between us.”

Kristoffer Diaz American writer

On how theater differs from television in “Playwright Kristoffer Diaz steps into the ring” https://www.latimes.com/entertainment/la-xpm-2011-aug-21-la-ca-chad-deity-20110821-story.html in the Los Angeles Times (2011 Aug 21)

“I became the protagonist of my story and the protagonist of my life. I realized we’ve all been left out of this story. We are always the supporting characters, and we have to say no. My job is to show people that everyone belongs in the theater, everyone belongs making films, everybody has something important to teach someone else. And that’s why stories are so important.”

Josefina Lopez (1969) American playwright

On making Latinos the center of the story in “Josefina López: ‘I became the protagonist of my story’” https://boyleheightsbeat.com/josefina-lopez-i-became-the-protagonist-of-my-story/ in Boyle Heights Beat (2018 Sep 19)

Life, People, Making love, Support

“Theater is a service where the god keeps changing…Sometimes it’s the actor. Sometimes it’s the director. Sometimes it’s the stage manager. Sometimes, but almost never, it’s the playwright.”

María Irene Fornés (1930–2018) American writer

On the fickle nature of theater in “Moment to Moment: with Maria Irene Fornes” https://brooklynrail.org/2002/10/theater/moment-to-moment-with-maria-irene-fornes in The Brooklyn Rail (Autumn 2002)

God, Change

“The Vietnam War was raging at that particular time, so I wanted to do a positive play about a country character who was yearning for his home, as I was doing at Christmas…I drew on my experience growing up in the country - plowing mules, cropping tobacco, bootleggers, going to church. The rest was my imagination. I wanted to do something that could be performed on the streets - I love street theater. And I wanted my character to have a conscience.”

Samm-Art Williams (1946) American playwright and screenwriter

On what inspired him to write the play Home in “Lyrical, Uplifting HOME by Samm-Art Williams Comes to ICT” https://www.broadwayworld.com/los-angeles/article/Lyrical-Uplifting-HOME-by-Samm-Art-Williams-Comes-to-ICT-20170915 in Broadway World: Los Angeles (2017 Sep 15)

Love, War, Making love, Home

“I think it was the ability of the theater to communicate ideas and extol virtues that drew me to it. And also I was, and remain, fascinated by the idea of an audience as a community of people who gather willingly to bear witness. A novelist writes a novel and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.”

August Wilson (1945–2005) American playwright

On what attracted him to theater in “August Wilson, The Art of Theater No. 14” https://www.theparisreview.org/interviews/839/august-wilson-the-art-of-theater-no-14-august-wilson in The Paris Review (Winter 1999)

People, Communication, Idea, Nature

“Reading after a certain age diverts the mind too much from its creative pursuits. Any man who reads too much and uses his own brain too little falls into lazy habits of thinking, just as the man who spends too much time in the theater is tempted to be content with living vicariously instead of living his own life.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

1920s, Viereck interview (1929)

Life, Age, Thinking, Time

“Poetry is the art that is closest to music, standing between music and narrative orality (which can be speechmaking, sermon or theater). Poetry is the voice of what can’t be spoken, the mode of truth-telling when meaning needs to rise above or skim below everyday language in shapes not discernible by the ordinary mind. It trumps the rhetoric of politicians. Poetry is prophetic by nature and not bound by time. Because of these qualities poetry carries grief, heartache, ecstasy, celebration, despair, or searing truth more directly than any other literary art form. It is ceremonial in nature. Poetry is a tool for disruption and creation and is necessary for generations of humans to know who they are and who they are becoming in the wave map of history. Without poetry, we lose our way.”

Joy Harjo (1951) American writer

On the art of poetry in “An Interview with Joy Harjo, U.S. Poet Laureate” https://poets.org/text/interview-joy-harjo-us-poet-laureate?gclid=EAIaIQobChMIiJP5naHW5QIV0Rx9Ch0tGgkkEAAYASAAEgIJD_D_BwE in Poets.org (2019 Mar 31)

Truth, Art, Music, Way

“It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.”

George Santayana (1863–1952) 20th-century Spanish-American philosopher associated with Pragmatism

https://owlquote.com/quotes/it-is-veneer-rouge-5g358g7
Other works

Making love, Art, Football

“He should have been in the same rank as Laurence Olivier, but he was very wild and had a scandal around him all the time and I think in theater circles that would not be approved of.”

Richard Burton (1925–1984) Welsh actor

Sir John Gielgud, in “Richard Burton, 58, is Dead; Rakish Stage and Screen Star”

Thinking, Time

“My plan was not to be a celebrity. My plan was to be a singer and an entertainer. I wanted to go to NYU, major in musical theater, do Broadway, and come out with an album. Unfortunately, I started fucking up when I was in my teens.”

Nicole Richie (1981) American television personality, musician, actress, and author

Source: [Harper's Bazaar, Partners In Crime, Harper'sBazaar, 2008, http://www.harpersbazaar.com/magazine/cover/paris-nicole-feature-0607, html, 2008-03-06]

Music

“When I first went to Mexico in 1974 and was involved in Chicano teatro—Mexican American guerilla theater—I realized that my politics and my poetry could merge; suddenly it wasn’t just for me. Before then, I didn’t share this poetry; I kept it in notebooks…”

Lorna Dee Cervantes (1954) American writer

On how her politics and poetry merged in “A Conversation with Lorna Dee Cervantes” https://www.academia.edu/4464223/A_Conversation_with_Lorna_Dee_Cervantes in World Literature Today (2010)

“God just put a love for it inside of me, I love telling stories, drawing and painting. Animation is a fairly solitary art form. But what happens when you sit in a theater with an audience and you hear their audible responses to your work—the crying, the laughter—there is nothing like it. I just love storytelling. I am a ham actor with a pencil. I love performing on canvas or on paper or right now on a digital screen.”

John Pomeroy (1951) animator

Animation professor returns to roots as illustrator of Disney biography https://www.lipscomb.edu/now/animation-professor-returns-roots-illustrator-disney-biography (May 8, 2019)

Love, God, Making love, Art

“You get to contribute so significantly in the editing room because you shape the movie and the performances," she says. "You help the director bring all the hard work of those who made the film to fruition. You give their work rhythm and pace and sometimes adjust the structure to make the film work – to make it start to flow up there on the screen. And then it's very rewarding after a year's work to see people react to what you've done in the theater.”

Thelma Schoonmaker (1940) American film editor

iVillage Entertainment, The Last Temptation of Thelma, Lan N., Nguyen, March 15, 2005, dead, https://web.archive.org/web/20061022085303/http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html, October 22, 2006, mdy-all http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html,

People, Making love, Help

“We cannot pretend that we do not see the armed policeman who marches up and down beneath our window to guarantee our security while we eat our luxurious dinner, or look at the new piece at the theater, or that we are unaware of the existence of the soldiers who will make their appearance with guns and cartridges directly our property is attacked.”

Leo Tolstoy The Kingdom of God Is Within You

Source: The Kingdom of God is Within You (1894), Chapter XII, Conclusion—Repent Ye, for the Kingdom of Heaven is at Hand

Making love, Appearance

“Movies take years to bring to theater, but hours to watch. Strikingly similar to success.”

Isaac Mashman (2000) businessman, speaker

Success

“All the experience I had in television, radio, theater, stage and films gave me confidence in front of crowds. Because of that, I can talk to an audience of a thousand people without a moment's nervousness, and talk without a script for hours.”

Sara Shane (1928–2022) American actress

Interview with Elaine Hollingsworth https://web.archive.org/web/20071003020618/http://www.tarzan.cc/int-sarashane.html (July 9, 2007)

People, Confidence, Self-confidence

“I am already seeing the crisis reformatting into some artistic statements, there will be plays, maybe films. Definitely theatrical performances. As strange as it sounds, I think that these difficult times have changed arts people, especially in theater and film, who were never fond of social subjects and always tried to keep their distance. And now they jumped right into it because of this difficult situation. And I think there will be only more of that.”

Chulpan Khamatova (1975) Russian actress

As quoted in "“Fostering Leadership”: online talk with Chulpan Khamatova" in Vladimir Potanin Foundation (7 August 2020) https://www.fondpotanin.ru/en/press/news/fostering-leadership-online-talk-with-chulpan-khamatova/

People, Art, Thinking, Change

“Theater is the only thing that still belongs to the people”

Miguel Piñero (1946–1988) Puerto Rican writer

As quoted in the book Captive Audience: Prison and Captivity in Contemporary Theatre https://books.google.com/books?id=oEKSAgAAQBAJ&pg=PA41&lpg=PA41&dq from a 1974 interview that Piñero did

People

“You cannot be buried in obscurity: you are exposed upon a grand theater to the view of the world. If your actions are upright and benevolent, be assured they will augment your power and happiness.”

Cyrus the Great (-600–-530 BC) King and founder of the Achaemenid Empire

Source: As quoted in A Dictionary of Thoughts : Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) by Tyron Edwards, p. 290

Happiness, World

“I often think my life has been a failure. But whenever I drop into a theater and hear women laugh at one of my films, I think, well, if I brightened their day before they went home and did the dishes, maybe my life wasn't wasted, after all.”

Cary Grant (1904–1986) British-American film and stage actor

Source: As quoted in "They Changed Their Careers and Became Famous; Cary a Failure?" https://www.newspapers.com/clip/87358421/the-boston-globe/ by Jack Harrison Pollack, Parade (November 16, 1969), p. 7; and The Filmgoer's Book of Quotes (1978) by Leslie Halliwell, p.229

Life, Women, Home, Failure

“In most Asian-American families, if a son or daughter says they want to be in theater, nobody's embracing them for that. And that's a problem. Because when you're discouraging those people at that age, it reduces the number of participants in the cultural life of the community.”

Rick Shiomi (1947) Canadian writer

Source: On the cultural attitudes regarding youth who want to enter the arts in “Art Talk with Playwright & Director Rick Shiomi” https://www.arts.gov/art-works/2016/art-talk-playwright-director-rick-shiomi in Art Works Blog (2016 Mar 31)

Life, People, Age, Family

“My theater work came out of my community activism, and became an extension of that activism. Being Asian American, there are so many hurdles to get across in terms of creating awareness and recognition of Asian-American theater, wherever you go. Those two are, for me, wedded together completely…”

Rick Shiomi (1947) Canadian writer

Source: On how he might view his theater work as community activism in “Art Talk with Playwright & Director Rick Shiomi” https://www.arts.gov/art-works/2016/art-talk-playwright-director-rick-shiomi in Art Works Blog (2016 Mar 31)

Communication, Wedding