The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
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We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.
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The actors today really need the whip hand. They're so lazy. They haven't got the sense of pride in their profession that the less socially elevated musical comedy and music hall people or acrobats have. The theater has never been any good since the actors became gentlemen.
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Boxing has become America's tragic theater.
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To me, the irony of this involvement with size, as I observed earlier, is the unwillingness or inability of so many Americans to identify themselves with something as vast as the United States. Bigger cars, bigger parking lots, bigger corporate structures, bigger farms, bigger drug stores, bigger supermarkets, bigger motion-picture screens. The tangible and the functional expand, while the intangible and the beautiful shrink. Left to wither is the national purpose, national educational needs, literature and theater, and our critical faculties. The national dialogue is gradually being lost in a froth of misleading self-congratulation and cliche. National needs and interests are slowly being submerged by the national preoccupation with the irrelevant.
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Drama is based on the Mistake. I think someone is my friend when he really is my enemy, that I am free to marry a woman when in fact she is my mother, that this person is a chambermaid when it is a young nobleman in disguise, that this well-dressed young man is rich when he is really a penniless adventurer, or that if I do this such and such a result will follow when in fact it results in something very different. All good drama has two movements, first the making of the mistake, then the discovery that it was a mistake.
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The Miss America contest is the most perfectly rendered theater in our culture, for it so perfectly captures what we yearn for: a low-class ritual, a polished restatement of vulgarity, that wants to open the door to high-class respectability by way of plain middle-class anxiety and ambition.
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The alienation effect in German epic theater is achieved not only through the actors, but also through music (chorus and song) and sets (trans...
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My conception of the audience is of a public each member of which is carrying about with him what he thinks is an anxiety, or a hope, or a preoccupation which is his alone and isolates him from mankind; and in this respect at least the function of a play is to reveal him to himself so that he may touch others by virtue of the revelation of his mutuality with them. If only for this reason I regard the theater as a serious business, one that makes or should make man more human, which is to say, less alone.
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Theater of cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other's bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.
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The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will...
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All this class of pleasures inspires me with the same nausea as I feel at the sight of rich plum-cake or sweetmeats; I prefer the driest bread of common life.
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I open with a clock striking, to beget an awful attention in the audience -- it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere.
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The theater, which is in no thing, but makes use of everything
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Marriage. Why do we do it Everybody knows the stats. One in two marriages end up in broken dishes and a trip to Tijuana. Is it loneliness Partly. Is it teamwork Definitely. Things just kind of go easier when there's two of you. One of you can wait in line at the movie theater while the other guy parks the car. Get better seats that way. Better room rate when it's a double. Are you ready to file jointly...Above you is the sun and sky. Below you, the ground. Like the sun, your love should be constant, like the ground, solid.
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The real theater of the sex war is the domestic hearth
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If a playwright tried to see eye to eye with everybody, he would get the worst case of strabismus since Hannibal lost an eye trying to count his nineteen elephants during a snowstorm while crossing the Alps.
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Free speech means the right to shout 'theatre' in a crowded fire.
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The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts.
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For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
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It's one of the tragic ironies of the theatre that only one man in it can count on steady work -- the night watchman.
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But after they settle in you've still got to be funny, because for an hour just the fact they get to see you live in a theater is going to wear off if you're not doing well.
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Be reflective...and stay away from the theater as much as you can. Stay out of the theatrical world, out of its petty interests, its inbreeding tendencies, its stifling atmosphere, its corroding influence. Once become
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Gabriel Have you ever heard of Harry Houdini Well he wasn't like today's magicians who are only interested in television ratings. He was an artist. He could make an elephant disappear in the middle of a theater filled with people, and do you know how he did that Misdirection.
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I think it's terrific. A lot of people in my neighborhood have been saying, 'Oh my goodness gracious, we wish we had a movie theater.' They don't want to have to drive up to Sarasota.
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The world's a theatre, the earth a stage, Which God and nature do with actors fill
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A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.
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A dramatist is one who believes that the pure event, an action involving human beings, is more arresting than any comment that can be made upon it.
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To treat a big subject in the intensely summarized fashion demanded by an evening's traffic of the stage when the evening, freely clipped at each end, is reduced to two hours and a half, is a feat of which the difficulty looms large.
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Do what you love to do and give it your very best. Whether it's business or baseball, or the theater, or any field. If you don't love what you're doing and you can't give it your best, get out of it. Life is too short. You'll be an old man before you know it.
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