The most effective moments in the theatre are those that appeal to basic and commonplace emotions--love of woman, love of home, love of country, love of right, anger, jealousy, revenge, ambition, lust, and treachery.
From the viewpoint of analytic psychology, the theatre, aside from any aesthetic value, may be considered as an institution for the treatment of the mass complex.
Memory is not an instrument for exploring the past but its theatre. It is the medium of past experience, as the ground is the medium in which dead cities lie interred.
It is remarkable how virtuous and generously disposed everyone is at a play. We uniformly applaud what is right and condemn what is wrong, when it costs us nothing but the sentiment.
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.
The theatre is the involuntary reflex of the ideas of the crowd.
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.
The stage is not merely the meeting place of all the arts, but is also the return of art to life.
The stage is life, music, beautiful girls, legs, breasts, not talk or intellectualism or dried-up academics.
The virtue of dress rehearsals is that they are a free show for a select group of artists and friends of the author, and where for one unique evening the audience is almost expurgated of idiots.
A dramatic experience concerned with the mundane may inform but it cannot release; and one concerned essentially with the aesthetic politics of its creators may divert or anger, but it cannot enlighten.
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.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
This...is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.
Idealistic producing is safe. Sensibly projected in the theater, the fine thing always does pay and always will.
It is in the irony of things that the theatre should be the most dangerous place for the actor. But, then, after all, the world is the worst possible place, the most corrupting place, for the human soul. And just as there is no escape from the world, which follows us into the very heart of the desert, so the actor cannot escape the theatre. And the actor who is a dreamer need not. All of us can only strive to remain uncontaminated. In the world we must be unworldly, in the theatre the actor must be untheatrical.
The theatre, when all is said and done, is not life in miniature, but life enormously magnified, life hideously exaggerated.
You need three things in the theater - the play, the actors and the audience, - and each must give something.
In the theater the audience wants to be surprised but by things that they expect.
Applause begets applause in the theatre, as laughter begets laughter and tears beget tears.
Two strongly influential movements--naturalism and absurdism--have polarized western theatre, arguing respectively for a tidy global perspective of human behavior or for an idiosyncratic local vision, in which ultimately no human behavioral patterns can be abstracted. One is left to choose between existence represented as strict linear determinism or as utter randomness.
Theatre is not and should not be a literary form of expression. A theatrical celebration can take place anywhere: out of doors, in a garage, in a stable. The problem with avant-garde theatre today is that it is absolutely intellectual. You have to be cerebrally inclined to understand what is going on.
The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation.
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