Discover the most popular and inspiring quotes and sayings on the topic of Playhouses. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Playhouses Quotes And Sayings by 95 Authors including Juliet Stevenson,David Hare,Tom Stoppard,Margaret Mead,Anthony J. Melchiorri for you to enjoy and share.
In our own, theatre can be the place where we come together, reaching with and through stories, to who we are and to who we can be.
If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?
The 'role of the theatre' is much debated (by almost nobody, of course), but the thing defines itself in practice first and foremost as a recreation. This seems satisfactory. TOM STOPPARD 1993
We must have ... a place where children can have a whole group of adults they can trust.
What the fuck kind of twisted fun house is this?
Growing up, I thought it would be great if I could do big theaters. Now we're doing arenas.
The theatre is irresistible, organise the theatre!
go-go hall on my way home from school.
Theatre is the safe place to do the unsafe things that need to be done.
We are reaching levels of high experiential comfort
and our standards will keep rising.
We want to feel, we want to experience,
we want to connect, we want intelligence,
and we want to play;
Ladies and Gentlemen:
A new theatre is on its way.
I'm trying to do the kind of projects that I want to see in the theatre.
I had spent time in New York, where I loved the idea that theater could be done up in tiny little rooms rather than for lots of money on a big stage, and be tied to ordinary life.
I wanted to have a place and a space, and a building, in which to create a season of work I am here because the idea of a theatrical home is very appealing to me
walled fields and low, rambling buildings, presenting
I love big, bold, truthful theater - the tradition of Victorian theater.
I finally realized that this 'place' that I kept bursting into [on a psychedelic experience] was somebody's idea of a playpen.
My dream is to eventually open a children's theatre.
Because I wanted to have a place that I could create everything that I that I never had as a child. So, you see rides. You see animals. There's a movie theater.
Anyone can build a building that protects people from heat, sun and cold. What I am determined to do is to make a stage where people can be sexier and more brilliant, a place where they can awake smarter.
I understood why war zones are called 'theaters' because they frame a kind of play acting or, worse, deceit, that can stain a human life forever: the deceit of hate on hearsay - hating an enemy one doesn't know ...
Children's play is a way to express innate, spontaneous creativity.
First there was the theatre of people and animals, then of people and the devil. Now we need the theatre of people and people.
As an actor I worked for seven years with a community theater company based in London. We used improvisation techniques to take stories to young people who wouldn't normally have access to them - in prisons, hospitals, young offender's units, youth clubs and housing estates.
There's something wholesome about the theatre.
I like the notion of theater as recreational.
My playground is full of moonshine, mason jars, beer bottles, and bonfires.
Boys Shack, MEN build homes
Play is the best natural resource in a creative economy. Kids need more of it. It is the work of childhood. We hope to intrinsically change the opinion that play is not just a luxury but an absolute necessity for kids' lives.
Almost said 'theater'! But I know the blacks don't go! Unless it's that My Arms Are Too Short To Box With God production. Or The Wiz.
In large Victorian houses with many rooms and heavy doors, the occupants could be mysterious and exciting to one another in a way that those who live in rackety developments can never hope to be. Not even the lust of a Lord Byron could survive the fact of Levittown.
Theater is all about foyers and conversation and digesting what you've seen.
Castles in the air - they are so easy to take refuge in. And so easy to build too.
To me, the theatre - I don't like to say it, but I'll say it - is a temple in a kind of way, where human beings go to be elevated.
A chess tournament disguised as a circus.
our cabin in the woods in Clare.
All the world's a stage ... and you better have a zoning variance or it's coming down.
I always wanted that house where everybody wants to go, full of energy, dogs, music, fun.
Framed in black moldings on the wall, other works of arts, conceived and committed on the premises, by the young ladies; being grim black-and-white crayons; landscapes, mostly: lake, solitary sail-boat, petrified clouds, pre-geological trees on shore, anthracite precipice;
At the end of the 1960s, I was part of the downtown theatrical movement in New York that was making work in alleyways, garages, gyms, churches, non-traditional spaces. The idea was to get away from the illusion of the conventional theatre. But then I thought, what's wrong with illusion?
There are tents, I am certain, that I have not discovered in my many visits to the circus. Though I have seen a great deal of the sights, traveled a number of the available paths, there are always corners that remain unexplored, doors that remain unopened. -Friedrick Thiessen, 1896
Children love secret club houses. They love secrecy even when there's no need for secrecy.
Theatre is pure teleportation by means of suspension.
It's a voyage into the archives of the human imagination.
A passport to all what ifs.
The difference that a drama group or a cinema club can make to a small village or a town. It opens people up to ideas, potential about themselves that really, in a way, education often fails to. It's a way of drawing a community together.
The oldest form of theater is the dinner table. It's got five or six people, new show every night, same players. Good ensemble; the people have worked together a lot.
Books inviting us to read, on the bookshelves stand.
Piers for bridges that will lead, into Fairyland
I don't see enough theatre.
It's absolutely crucial that every child-serving organization - be it an elementary school, daycare, or community center - provide its children with time and space to play.
For a child, everywhere is a playground; for an adult, it is the same, only the plays are different!
Oh, God, I would love to go and do a play someplace.
The countryside they
I go to see my kids in school plays.
The circus a place where horses, ponies and elephants are permitted to see men, women and children acting the fool.
I think theater is a core need of a community.
I'd like more kids to go and see theatre because it really is amazing.
For a production that suggests a mysterious dreamscape, I have a particular affection for the Vivian Beaumont Theater. It is the largest dramatic space available in New York City in terms of plays, although musicals have been done there very successfully as well.
I'm trying to manufacture a sleepover feel; like a tree house or a clubhouse. I want people to be silly and play and feel safe and some people, you have to coax them into that space and some people bring me further into that space, even past the point that I wanted to go.
I grew up in a small town, in a small community, and I would not have had access to great plays when I was a kid were it not for the films of 'Who's Afraid of Virginia Woolf?' and 'Cat on a Hot Tin Roof.'
Playground of Dreams supports kids in discovering and achieving their own magnificence, that unique quality that only they have, fostering it, watering it, and watching it sprout!
Our gymnasium was remarkable and had more stuff in it than one could dream up in a nightmare. Furthermore, every boy had to use every piece of it during gymnasium class.
When I came out of drama school, I was in a shared house in Sydney.
Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to.
As a kid, his favorite toy had been a snow globe, that held a small town of gingerbread buildings and peppermint streets. He'd wanted so badly to live there that one day he'd smashed the glass ball - only to find out that the houses were made of plaster, the candy stripes painted on.
I directed a piece of theater in Italy. We took nine fables from the town and we created a play.
We all want to have a place where we can dream and escape anything that wraps steel bands around our imagination and creativity.
A paper town for a paper girl.
I watched plays with the kind of voracity with which small children read books; with the same visceral passion, the same complete trust in the imagination which is so difficult to sustain through the course of one's whole life.
I want to show that theater isn't just talking about feelings or people wearing tights.
like a small room. Like a
That was like my safe place with great teachers where everyone could let down their guard and not feel judged. As soon as we walk outside, it was like, 'Look at these weird drama club kids.' But we all had our own agreement that we were cool in our own way.
I was very much in my room with my marionette stage, you know, creating these incredibly boring things that I felt were so fascinating, and forcing my relatives to come, and charging money for them to see my little productions.
As an actress and comedienne, I'm a huge fan of he theatre and the Tricycle in Kilburn is my favourite in London. I dragged my kids to a performance of 'Twelfth Night' there, where they handed out pizza. Who knew that all it takes to get children interested in Shakespeare is a snack?
Beauty, grace, and charm my foot. It's a school for sadists with good tea-serving skills.
Big halls allow me to be a little "larger" and the challenge is make the show feel intimate.
Born to an age where horror has become commonplace, where tragedy has, by its monotonous repetition, become a parody of sorrow, we need to fence off a few parks where humans try to be fair, where skill has some hope of reward, where absurdity has a harder time than usual getting a ticket.
Unstructured play gives kids the space they need to tinker and take risks - both vital for the budding entrepreneur.
When I was a little girl, I loved theater a lot and I was always playing and making my own worlds.
Kids don't plan to play. They don't go: 'Barbie, Ken, you ready to play? It's gonna be a three-act.'
Cottages have them (falsehood and dissimulation) as well as courts, only with worse manners.
What do the only children do?
THE ADVENTURE OF WISTERIA LODGE
Into the center - Queen's Square. This is the heart of Wolverhampton's youth scene - our Left Bank, our Haight-Ashbury, our Soho. To the right, five skaters. To the left, three goths, sitting around the Man On 'Is 'Oss - a statue of a man, on his horse.
You enrich people with creative resources, and over time, these Lego bricks that end up in their heads eventually build this enormous, incredible castle.
When I was young and growing up in New York, my parents took me to children's theater quite often - elaborate presentations of 'Goldilocks' and 'Rapunzel' for Upper East Side kids. As I grew older, they took me to adult theater, mostly musicals.
I was born and brought up near a village in Nottinghamshire and in my childhood enjoyed the freedom of the rather isolated country life. After the First World War, my father had bought a small farm, which became a marvelous playground for his five children.
Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.
When I was a kid, my daily routine was playing make-believe, and I kind of created these stories throughout the day. And when it came time to go to preschool, my English wasn't really so great because my mother wanted me to learn Ukrainian, so she signed me up for these children's theater groups.
Well, they're magical wardrobes, of course, although they don't lead to any fairy wonderlands.
Theater is a verb before it is a noun, an act before it is a place.
A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.
On the farm, in our first-floor bedroom, my sister and I were sheltered in the essence of normal. We were not hidden, but unseen. The orange farmhouse was our castle, our kingdom the fields around, and the shallow creek that bisected our property the sea we crossed to find adventure.
Countless communities have virtually outlawed unstructured outdoor nature play, often because of the threat of lawsuits, but also because of a growing obsession with order. Many parents now believe outdoor play is verboten even when it is not; perception is nine-tenths of the law.
Someone told me about drama schools, and they seemed like mythological places - you can really go and be in drama classes all day? I inadvertently entered into this world where people wore bicycle clips and did song-and-dance routines in the corridors.
Art and religion, carnivals and saturnalia, dancing and listening to oratory - all these have served, in H. G. Wells's phrase, as Doors in the Wall.
There is a place in every childhood, an enchanted place where colors are brighter, the air softer, and the morning more fragrant than ever again.
A house from which nobody ever went away without feeling better in some way. A house in which there was always laughter.
When you're talking about pure form, theater is a wonderful outlet.
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.
The high-ceilinged rooms, the little balconies, alcoves, nooks and angles all suggest sanctuary, escape, creature comfort. The reader, the scholar, the browser, the borrower is king.
In 1995, I founded a storytelling program for children called Neighborhood Bridges in collaboration with the Children's Theatre Company of Minneapolis, which is 15 elementary schools in the Twin Cities.