Theatrical Atmosphere Quotes

Every Chanel show I've been to is very conceptual. Even down to the music and smells, the whole thing is connected.

I mean there’s a certain finality about a movie, when it’s done it’s done – that raised eyebrow in that moment will always be that raised eyebrow. Whereas a play only lives as a blueprint for a performance on any given night. There’s a reason you can eat popcorn and watch a movie and you can’t do that in the theatre. Theatre you have to lean in, you have to tune your ear to the stage and participateI respond to heat. And blood. And humanity. The cold experience is not for me. I’ve always enjoyed all the real people in a room together in the theatre.

Had Shakespeare listened to the news of Duncans death in a tavern or heard the knocking on his own bedroom door after he had finished the writing of Macbeth?

Wyndham's is a beautiful old theatre. The sensation on the stage isn't as different as you might think from the Royal Court.

Once I go on stage, the atmosphere is totally theatrical. The greater the illusion, the greater the intensity of the excitement it creates.

For my part, I like live theater best when it's taut, concentrated and intimate.

I feel like my home is stage acting.

Projection of sound gives the stage a life different from real life. As actors and interpretive artists, we must not only be able to know the attitude of the script, we must also make ourselves heard - without amplification.

Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.

I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I'll never forget it.

I miss live audiences, because it's like no other form of entertainment, where the audience is a major part of the production every night.

The greatest sound in the theater is silence.

In designing the scenery and costumes for any of Shakespeare's plays, the first thing the artist has to settle is the best date for the drama. This should be determined by the general spirit of the play more than by any actual historical references which may occur in it.

It couldn't interest me less, the idea of putting a living room on stage. I just think, what's the point of walking into a theater to see a living room? A sofa in a forest? Now you're talking.

I love live theater; I like the relationship between the show and the audience. That's my comfort zone, but more than anything, it's what makes me happy.

Sometimes you write music to a script or while a film is being edited. Sometimes I write without seeing any images, but that's rare. The approach is often based on practical decisions, but I'm interested in the narrative and physical space that music can occupy in a film or play.

I have a great respect for the moviegoing experience. It's such a unique thing. You're not getting up and walking around the house or flipping channels during the dull parts. You're in a dark space, and the movie fills most of your field of vision. You're surrounded by sound, and the colors are deeply saturated, and faces are fifteen feet high. If it's done well, you're really going to feel some big emotions or have some big belly laughs.

The excitement of theatre is palpable but the frustrations, and the complete absence of a definitive evening - the play as text means practically nothing in a way - , there's no particular performance that is definitive in the way a novel is a solid object you hold in your hands and here it is. You can't say that about a play. If the novel gives us a sense of throbbing consciousness, theater is pure soul, beautiful and elusive.