Quotes About Drama

Drama read to oneself is never drama at its best, and is not even drama as it should be.

You can't get away from violence in drama. If you do not have conflict, you do not have drama.

A life filled with silly social drama and gossip indicates that a person is disconnected from purpose and lacking meaningful goals. People on a path of purpose don't have time for drama.

The big thing is it's a domestic drama. Everything else in science fiction tends to be high-concept. Really for the last 40 years or so I think sci-fi's been a little cold and a little inhuman quite often - certainly since the 1980s - and I really wanted to do something that almost felt like a regular, real-life drama but just set it in a sci-fi setting. I think the best stuff is always like that.

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

I've always thought that comedy was just another dramatic expression. I try to measure the amount of truth in a work rather than just looking at the generic distinction between comedy and drama. There's a lot of bullshit drama that leaves you totally cold. And there's a lot of wasted comedy time too. But when you get something honest, it doesn't matter what label you give it.

I like a drama. And I think that's the basis of good films, or good plays, is to have a nice drama.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

Once a poet always a poet, and even though I haven't written poems for a long time, I can nonetheless say that everything I've ever learned about writing lyrical fiction has been informed by three decades of writing in lines and stanzas. For me the real drama of fiction is almost always the drama of the language.

To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.

I would love to do a drama. I did a couple of episodes of The Good Wife, which is more of a drama. I really liked that; I thought it was interesting. A lot of my favorite comedies play out as dramas.

The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.

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.

I first got into acting when I was about 12. I started doing speech and drama lessons. All my friends were doing it at the time and my dad encouraged it. He encouraged any extracurricular activity.

It's really hard to find just a simple character-driven drama, outside of a genre, that was available to direct, except for on TV.

When we are young we think our troubles a mighty business - that the world is spread out expressly as a stage for the particular drama of our lives and that we have a right to rant and foam at the mouth if we are crossed. I have done enough of that in my time.

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.

I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.

Matt Bomer and I went to Carnegie Mellon for drama together.

You couldn't hope to make a drama and have people rewriting on the day and having the actors making suggestions, "Wouldn't it be funny if my character did this?" "No. You're the actor. I'll tell you what to do."

Comedy and I were never strangers, it's just that I was doing a lot of drama.

You aren't a bit romantic, are you?" he asked, amused. She sat back and stared at him. She was beginning to think that Neal required a keeper. He seemed to have the craziest ideas. "Romance? Isn't that love stuff?" She asked finally. "It's more than just love. It's color, and-and fire. You don't want things magnificent and filled with-with grandeur," he said, trying to make her understand. "You know, drama. Importance. Transcendent Passion." "I just want to be a knight," Kel retorted, putting her used tableware on her tray. "Eat your vegetables. They're good for you.

You're playing a character in a drama who happens to be based on someone who existed. It's never going to 'be' that person, but it's based on someone well-known, and you want to create enough of that person for it not to be a distraction.

I think this orchestra's strengths involve drama and voice.

I think you can teach people a technique - you can teach them how to use their voices, how to breathe properly, how to move their limbs a certain way. But to actually explain how one performs comedy or drama or tragedy isn't the same as the movements one makes.

The drama thing was something I've always wanted to do, but the opportunities are rare, and they have to be the right ones.

When I left drama school, there were dozens of rep theatres you could apply to where you got a good training.

I like people to be surprised by the turn of events. I don't want things just to be pat and formulaic. If there's some sort of internal combustion in the character or a desire to change the way things are going, that makes for conflict, which is the essence of drama.

This used to be about sex. The literature of my people was pornography, filled with cries for mercy, drama enacted on people without prolonged negotiation, partners engaged in a dance in the middle of a bonfire. Now, it's 300-page manuals about how to make sure nothing bad will happen.

Drama is always conflict. Conflict either comes from within or without. The thing that makes a show different is the conflict manifests itself both internally and externally.

I like drama as well. When I played Hamlet, I got one review that said, "This must surely be the funniest Hamlet in history," but schoolgirls would still cry when he died.

I didn't really know much about the Houdinis when I started. As soon as they sent me the script, I wanted to find out everything I could about Bess. Luckily, I have a really wonderful friend named Michael Mitnick, who's a writer. He was a magician as a child, and that led him to the theater, which led to drama school, and he writes films now. Magic was really his thing, growing up, so he put me in touch with his magic teacher who is a real Houdini expert.

I love comedy and drama equally and music too. I just sort of follow my nose to whatever seems really exciting at the time. Eventually, I might want to do a rock opera.

Drama - what literature does at night.

This thing called love was a total mystery to me, but the vagaries of passion and despair that accompanied each devotion kept my life in high drama.

For me, all drama is based on conflict.

Fake is not a word I like to use because there's nothing fake about what I do. It's a show, it's a predetermined outcome; we're putting on a television drama, action, comedy, whatever you want to call it - but it's not fake. Fake would be if I was just about to take a body slam, and my stuntman did it. Fake would be if I was going to take a chair shot to the head, and the chair was made of rubber. I'll tell the world that it's a show, but I hate the word fake. It's such an unfair term to us.

Family seems so rich and complicated to me. There's meant to be this unfailing biological loyalty and yet at the same time it's this theatre for various kinds of cruelty. I know it doesn't always work out that way, but the worst possible behaviour is sort of allowed for. It looks to me like an endlessly rich container for really terrible drama, but also pretty grand love. It accommodates such a variety of feeling in such a natural way, and it feels so relatable, and yet it's such a funny construct, socially, the family.

I'm probably not very funny. The scripts just don't come in, or the ones that do aren't that good. I suppose I'm just an old drama queen, really.

A true friend is someone who never gets tired listening to your pointless drama over and over again.

I love all kinds of movies. I'd especially like to make some, you know, violent crime drama.

You've got a degree in philosophy; so you think you're cleverer than me. But I'm not just some drama queen. Cause it's where you're at, not where you've been.

Don't waste time on what's not important. Don't get sucked into the drama. Get on with it: don't dwell on the past. Be a big person; be generous of spirit; be the person you'd admire.

I think its natural if youre doing a lot of comedy to do a lot of drama, because you have to figure out the real version of the joke.

Drama is about conflict and it's about putting obstacles in the path of people you who care about.

I told myself, 'All I want is a normal life'. But was that true? I wasn't so sure. Because there was a part of me that enjoyed hating school, and the drama of not going, the potential consequences whatever they were. I was intrigued by the unknown. I was even slightly thrilled that my mother was such a mess. Had I become addicted to crisis? I traced my finger along the windowsill. 'Want something normal, want something normal, want something normal', I told myself.

The adventure of the sun is the great natural drama by which we live, and not to have joy in it and awe of it, not to share in it, is to close a dull door on nature's sustaining and poetic spirit.

The universal social pressure upon women to be all alike, and do all the same things, and to be content with identical restrictions, has resulted not only in terrible suffering in the lives of exceptional women, but also in the loss of unmeasured feminine values in special gifts. The Drama of the Woman of Genius has too often been a tragedy of misshapen and perverted power.