Drama Quotes - Page 40

I'm a history buff, and right now we're sitting on one of the most dramatic historical shifts that this planet has ever seen and we have a front row seat for it.

When I left school I went to Australia for a year and worked in the drama department of a school in Perth.

There is a lot of comedy in magic, and magic going wrong, and also it is a dramatic subject.

We watch movies about all sorts of things that we don't know anything about, but we do get caught up in the human drama.

The thing about drugs is that it [dealing] gives people an income to deal with, and it also gives people a compelling drama in their lives that they used to get from the office and the factory, and they're no longer there. What happens if you have everything in the hands of the state, particularly in the line of an authoritarian state, they just give people drugs to keep them doped up, to keep them passive.

Parsi theater was known for melodrama.

For sheer drama, few accounts of slavery match Solomon Northup's tale of abduction from freedom and forcible enslavement.

Working at BBC, at the head of one of the top dramas, is a tradition for great actors.

It's not any desire on my part to start playing dads, but it's a convention of drama. If you don't get the parts of young people going out to nightclubs, you have to play their fathers.

As a boy, I'd always had an interest in theater. But the idea at my school was that drama and music were to round out the man. It wasn't what one did for a living. I got over that.

The rise of the dramas in the thirteenth century, and the rise of the great novels in a later period, together with their frank glorification of love and the joys of life, may be called the Third Renaissance.

A mother's life, you see, is one long succession of dramas, now soft and tender, now terrible. Not an hour but has its joys and fears.

It is no accident that propels people like us to Paris. Paris is simply an artificial stage, a revolving stage that permits the spectator to glimpse all phases of the conflict. Of itself Paris initiates no dramas. They are begun elsewhere. Paris is simply an obstetrical instrument that tears the living embryo from the womb and puts it in the incubator.

In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.

No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama.

My fear of drama school is that the natural extraordinary but eccentric talent sometimes can't find its place in a drama school. And often that's the greatest talent. And it very much depends on the drama school and how it's run and the teachers. It's a different thing here in America as well because so many of your great actors go to class, which is sort of we don't do in England.

They have equal weight and you do the same work you'd do if you were playing a dramatic role.

I found out that drama was a fascinating exercise as a way to get out of my self and into somebody else's head.

It belongs among the refinements of totalitarian government in our century that they don't permit their opponents to die a great, dramatic martyr's death for their convictions.

Dreams will be fulfilled if you want them badly enough.

The magic of drama is infinitely more powerful than the magic of trickery. It is as available to the conjurer as it is to the actor. The only difference is that actors take it for granted, whereas few conjurers are even aware that it exists.

To me the industry has always said that the lovers and haters and principal characters will always be white in Hollywood, and black people will always be appendages of those kinds of dramas, or they will be comedic outlets. It will never change.

In the theatrical works we love and admire the most, the ending of the drama generally takes place offstage.

The Room is a drama that is also a comedy that is also an existential cry for help that is finally a testament to human endurance.

The dance is the most universal of the arts, since, as Goethe justly said, it could destroy all the fine arts. It is an expression of all the emotions of the spirit, from the lowest to the highest. It accompanies and stimulates all the processes of life, from hunting and farming to war and fertility, from love to death. It enables, in turn other arts to come into being: music, song, drama. Despite all their riches, the dance is no formless complex, but a simple unity.