Quotes About Drama

I made a very concerted decision to go to drama school in the United States. But I did have the opportunity to go to Britain's Central School of Speech and Drama, and my dad and I had a few tense words about that. He wanted me to go to British drama school.

We dream — it is good we are dreaming — It would hurt us — were we awake — But since it is playing — kill us, And we are playing — shriek — What harm? Men die — externally — It is a truth — of Blood — But we — are dying in Drama — And Drama — is never dead — Cautious — We jar each other — And either — open the eyes — Lest the Phantasm — prove the Mistake — And the livid Surprise Cool us to Shafts of Granite — With just an Age — and Name — And perhaps a phrase in Egyptian — It's prudenter — to dream —

The real challenge in acting is in comedy. It's easier to get that gasp in a drama. Not easy, because you still have to find that emotional pitch. And when you do something in drama and you hear that sob from the audience it's so fulfilling. But as a comic actor, when the laugh is supposed to come and you punch in that line and nothing happens it is dreadful. It's horrific and you feel like dying right there.

Joss Whedon writes beautiful drama. His sensitivity and his sense of drama and scenes are pretty exceptional. There's no one else writing like him, really, in sci-fi and TV. That's not to say there are no astonishing writers on TV. I was nervous about coming to America and playing an English person who speaks very English when all the writers are American, because it's a very particular thing to imitate, and if it's badly imitated, it sounds painfully contorted and silly. And he writes very well for English people. It was Joss Whedon who persuaded me.

Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.

Having written Camp David as a drama, I could see the drama maybe a little more clearly when I wrote the book.

The outer drama in the world is going to escalate, and what they [the Pleiadians] are saying is to come back to your heart and don't participate in the drama. Witness it, but understand that this illusion on the Earth plane is accelerating because of where we are in our evolution.

The ego-drama is nothing compared with the theo-drama. The fun begins when we let God write our stories.

When I first started getting into acting, I was doing improv in acting class, and I had done a serious monologue and everyone was cracking up laughing and I went to the drama teacher and said I don't want to be the class clown anymore, I want to do serious work, too, and they loved that, and so I started mixing in drama.

I think it's harder to go from comedy to drama than from drama to comedy. Seeing you dramatic all the time, they crave to see you being silly or funny. But, seeing you in comedy all the time, it's hard to see that person go be serious, for some reason.

Humour allows us to see that ultimately things don't make sense. The only thing that truly makes sense is letting go of anything we continue to hold on to. Our ego-mind and emotions are a dramatic illusion. Of course, we all feel that they're real: my drama, your drama, our confrontations. We create these elaborate scenarios and then react to them. But there is nothing really happening outside our mind! This is karma's cosmic joke. You can laugh about the irony of this, or you can stick with your scenario. It's your choice.

Learn to watch your drama unfold while at the same time knowing you are more than your drama.

A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.

I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.

There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.

A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.

There are three necessary elements in a story - exposition, development, and drama. Exposition we may illustrate as "John Fortescue was a solicitor in the little town of X"; development as "One day Mrs Fortescue told him she was about to leave him for another man"; and drama as "You will do nothing of the kind," he said.

I tend to think in dramatic terms. In life, there may be an actual drama, but it would be the fictionalized, imagined drama that engaged me.

I'd been upstaged, demoted from protagonist in my own drama to comic relief in my parents' tragedy

Having the audience know more than the characters is precisely where you want to be in terms of drama. You can engage them much more when that is the case.

I was like the class clown in school so I guess I would say I did like the attention. In church I did a lot of plays, my mother made me play characters, do a lot of drama and acting, trying to become someone else. So it helped me create who I am, to create Snoop Dogg.

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

The drama school was in Oxford - and it's funny to think of it, but in those days when I started out the University was nearly all male. And they certainly weren't mixed.

I think it's very rare that you see girl friendships on television. It's always cattiness and all that drama.

The western is the simplest form of drama - a gun, death.

With drama, you need to be laughing, in between takes, 'cause you're going to those recesses of your soul and those dangerous parts. Normally, if you're not an actor or some crazy artist, you don't feel the need to run around in those areas. You keep them separate because it's painful.

Are we just pretending to be unhappy so that we can add drama to our lives, so that we seem more substantial?

So thoughtless awareness is the first beautiful state you have to achieve. That will give you peace and a witness state to enjoy the drama of life, to enjoy the different varieties of people, while you will be growing within yourself.

I think people who do comedy tend to do it well, and to do it painfully and truthfully. So making the leap to drama is easier for them because everything they've done is from pain anyway.

. . . life is sometimes life and sometimes only a drama, and one must learn to distinguish t'other from which . . .

Doubt is part of the human drama. But don't let it consume you-let it motivate you.

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

I have always loved both drama and comedy.

A lot of these "reality shows" do a lot of producing scenes and producing things and drama and all that but we did the deal contingent that we wouldn't do that.

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.

I went to the Goodman School of Drama in Chicago.

I love walking down the street and seeing faces and drama and happiness and sadness and dirt and cleanliness.

We approach nonfiction at a much different level than we approach fiction or poetry or drama: that there's almost no room for metaphor. We expect the "I" in any nonfiction text to be an autobiographical "I" when there is a history in the essay of the "I" being a persona.

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.

I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, “I can't get into this, it's all about girls.” I thought to myself, “Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying.”

I made reference continuously to the killings, the death, the life taken by all of these narcotrafficking gangs and human smugglers. I spoke of this problem as one of the wounds that Mexico suffers. It's a great pain that I'm taking, because this nation [Mexicans] doesn't deserve a drama like this one.

I actually had a cockney accent before I went to drama school. It's softened up a bit.

There is nothing I can't do writing in Fantasy. I can have romance, I can have mystery, I can have drama, I can have good characters - I can have everything you can do in any other genre... plus a dragon.

For me, all drama is based on conflict.

The cynical, caustic, acid-tongued New York drama critic Addison De Witt introduces his protege/date of the moment, a bimbo date and so-called actress named Miss Casswell (Marilyn Monroe) in another very famous line: "Miss Casswell is an actress, a graduate of the Copacabana School of Dramatic Art."

You'd be hard pressed to find more drama in 'Days of Our Lives' than you do in an average job each day.

Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.

Great drama is the souvenir of the adventure of a master among the pieces of his own soul.