Quotes About Drama

Drama is hate. Drama is pushing your pain onto others. Drama is destruction. Some take pleasure in creating drama while others make excuses to stay stuck in drama. I choose not to step into a web of drama that I can't get out of.

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.

I really like people who can do both drama and comedy and not some like middle of the road do both drama and comedy. I'm not talking about some guy who does these bland dramedies all the time. I'm talking about people that have done heavy drama and who have done heavy comedy.

Jazz music should be inclusive. Smooth jazz to me rules out a certain kind of drama and a certain tension that I think all music needs. Especially jazz music, since improvising is one of the cornerstones of what jazz is. And when you smooth it out, you take all the drama out of it.

When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. And Sabina - what had come over her? Nothing. She had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden, but the unbearable lightness of being.

I did all sorts of jobs after drama school - working in a bar, as a teaching assistant. I probably learned as much from them as I did at drama school.

I would like to work in both comedy and drama. I'd love to do a really juicy drama that's just really real.

Within any drama in anyone`s life, there`s always a way to find the humor in it. Without humor no one cares about whatever drama is going on.

As for writing about temptation, there's no drama without temptation, and no novel without drama.

The popular definition of tragedy is heavy drama in which everyone is killed in the last act, comedy being light drama in which everyone is married in the last act.

I love drama - I would say more than I even love comedy - but I like in One Mississippi that I can go from a very moving moment to a Willy Wonka tube up my ass. I like the silliness as much as I like drama.

When you make drama you are like Picasso. Drama is whatever you want it to be.

I've never gotten hired for drama because I'm a good improviser. I don't think people who write drama scripts want you playing with them as much.

I come from a very expressive family, so it's really not surprising that we became actors. There was a lot of real-life drama in our house. Some of it was drama, some of it was comedy and some of it was comic-tragedy.

Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.

Comedy has to be so much cleaner than drama. You can't layer it in the way you can a dramatic performance. Which is why it's more difficult than drama - you don't have so many tricks.

Each form of the acting is different. I think it keeps your mind active. TV, film and theater are different disciplines, as are independent films, opposed to studio films. There are differences in the size and the genre, or a period drama as opposed to a contemporary drama, or the types of characters.

I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.

In a fiction film, we know at some level we've suspended disbelief. In a documentary, we know that we're watching a drama unfold in the world because of the movie we're watching that is real. That has enormous stakes for the whole society, and we, by the act of watching, complete the story.

Drama is anticipation mingled with uncertainty.

I know what it's like to struggle for cash. When I went to drama school, I worked as a chambermaid to make ends meet.

There is hardly a pioneer's hut which does not contain a few odd volumes of Shakespeare. I remember reading the feudal drama of Henry V for the first time in a log cabin.

I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.

Basically, if I ever went and worked on a crime drama or something, it was usually just for the work.

As a kid, before I got into music, I did all the drama classes, went to theater camp in the summers, so it wasn't totally a foreign world.

Whatever the best scripts are and you just want to play roles that you can really sink your teeth into. That's always the goal no matter if it's a good guy or a bad guy, or a comedy, or a drama. It doesn't matter, you just want something that's substantial you can sink your teeth into and that you haven't done before, something that's really going to challenge you.

And now, what does it all matter? It matters more than anything else in the world. The whole dance, or drama, or pattern of this three-Personal life is to be played out in each one of us: or (putting it the other way round) each one of us has got to enter that pattern, take his place in that dance. There is no other way to the happiness for which we were made.

There are so many things that I would love to do. I'd love to do a drama. I just enjoy doing very different things.

My mythic version of America is very much about parents and children, and in my experience, the suburban setting is where that particular drama plays out. Which isn't to say that there aren't parents and children in cities or on farms. I just don't know them.

The secret to comedy is not playing the comedy, but actually playing the situation, playing the drama of it.

First I went to C.W. Post and I was a psychology and theater major and then I transferred to NYU's Tisch School of the Arts as a drama major.

Boarding school in Tring was a bit of a bubble that burst when I went to Hackney to go to drama school.

Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.

Drama was always clogging up the phone line. It's like that's what people call me for.

I'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.

The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."

You can't come out of drama school and think, 'It's all going to be amazing.' You have to expect to work in a bar for at least five years and be a waitress for maybe two!

The real truth about a lot of life's mysteries can be explained by science but people don't want to get in bed with science because it's cold. They prefer religion, myth, drama.

To come to know that nothing is good, nothing is bad, is a turning point; it is a conversion. You start looking in; the outside reality loses meaning. The social reality is a fiction, a beautiful drama; you can participate in it, but then you don’t take it seriously. It is just a role to be played; play it as beautifully, as efficiently, as possible. But don’t take it seriously, it has nothing of the ultimate in it.

As a writer, I haven't delved into dramatic writing. As an actor, I could always, even more so than comedy, do drama.

Take a bunch of little kids to the beach and they all make art. Adults are too stupid to call it art, but it is art. They'll use their imaginations, make drama, make up characters, make pictures in the sand, they'll make up songs that no one's ever heard before. All kids, I think, are creative, but they get it pounded out of them in school.

I went to the Goodman School of Drama in Chicago.

Managing the creative process means selecting the best people and then letting them do their work. That means nurturing. It also means, from time to time, creating drama - even uncertainty - so that the creative environment has an edge to it, a charge, and does not run out of steam.

I once worked with Emma Thompsons mother, Phyllida Law. I worked with her on a BBC drama, and she was hilarious. I loved her so much, and she was great to work with.

In avant garde drama ... primitivism goes hand in hand with aesthetic experimentation designed to advance the technical progress of the art itself by exploring fundamental questions: What is a theatre? What is a play? What is an actor? What is a spectator? What is the relation between them all? What conditions serve this best?

I was on the cheerleading squad and drama and the choir, but I was friends with everybody. I was not a partier. I was too Type A and crazy about my grades, but I was still there at everything.

Othello' was my first Shakespearean discovery. I was obsessed with drama at school, and I studied the play for my English GCSE. Desdemona is the part that everyone wants, but Iago's wife Emilia is the one I've always been drawn to.

I'm a right pain in the hole for my agent. I won't take certain parts if I think they're offensive or banal. For instance, I won't do a film if I think it's full of violence for violence's sake, or a television drama if I don't think it's intelligent writing.