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Category | Quote | Last | First | |
---|---|---|---|---|
Acting, Costumes | The subjective actress thinks of clothes only as they apply to her; the objective actress thinks of them only as they affect others, as a tool for the job. | Head | Edith | |
Costumes | Why don't I just give you some money, then you can buy whatever you want to wear on stage. You obviously want a shopper, and I am merely a designer. [said to an uncooperative actress during a costume fitting] | Cibula-Jenkins | Nan | |
Costumes | Before a character even speaks, we 'read' their appearance through their costume. | Hall | Peter Ruthven | |
Costumes | Your eyes will always go to red, which is why there is a lady in red in all my shows. | Klotz | Florence | |
Costumes | The moment an actor walks on stage, an impression is made. The audience immediately gains crucial information, both about the production as a whole and the character. A costume is a transformation garment, one that assists an actor to beomce, for a time, someone else. | Malloy | Kaoime | |
Costumes | Next to a tenor, a wardrobe woman is the touchiest thing in show business. [Birdie, in All About Eve] | Mankiewicz | Joseph | |
Costumes | If you do a certain amount of work on your own before consulting with the director then the process starts with the script. I tend to do a certain amount of my own work before I go into a first meeting. It is important to be open minded in your first meeting with a director but I like to be well-prepared for that meeting because sometimes that time with your director can be limited. At the time of that first meeting, I will have read the play several times and from different points of view. I might read the play once to just check how many costume changes there are. I will read it again to make a prop list. I will read it again to analyse where the entrances and exits are and also to imagine where the furniture will be. It's difficult to concentrate on all of these things in one reading so I go through these processes in separate readings. Once you have that under your belt, depending on the period of the production, I guess I start to do visual research based on my response to the text. Depending on where and when I might choose to look at photography of the period or I might choose to look at painting or I might just look at history books and look for thematic influences. That's the start and having done that you team up with your director and see what their response is to those ideas you have and then you start to form a stronger direction. [Christina Poddubiuk, Set and Costume designer] | Poddubiuk | Christina | |
Costumes, Set Design | Be daring, be different, be impractical; be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary. Routines have their purposes, but the merely routine is the hidden enemy of high art. [Advice to theatrical designers,] | Beaton | Cecil | |
Lighting, Set Design, Costumes | The sole aim of the arts of scene-designing, costuming, lighting, is to enhance the natural powers of the actor. | Edmond Jones | Robert | |
Set Design, Costumes | I think the best shows are always the ones where the elements come together very well and where the intention is realized. These are the shows in which what you set out do is what you end up with. Through very fortunate circumstances, like the combination of a good director, a good cast, and other people designing, you all manage to end up at the point that you intended when you started out. Nothing is ever perfect and there are always things that you'd perhaps do differently but I think that as long as you get a sense of fulfillment from a show then it is going to be a good experiences. [Christina Poddubiuk, Set and Costume designer] | Poddubiuk | Christina | |
Set Design, Lighting, Costumes | A play is a painting that moves. Instead of it holding still, and you are looking at it, you hold still and it scrolls by. | Zipprodt | Patricia |