If Shakespeare can compare all of life to a stage, maybe it's not odd to believe that part of the play can take place on a basketball court.— Bill Russell
Most Powerful Shakespeare's Plays quotations
You only live once. You don't want your tombstone to read: Played it safe.
Some people will say, "Why read a comic book? It stifles the imagination.
If you read a novel you imagine what people are like. If you read a comic, it's showing you." The only answer I can give is, "You can read a Shakespeare play, but does that mean you wouldn't want to see it on the stage?
One day, out of irritation, I said, you know all of those years with the Royal Shakespeare Company, all those years of playing kings and princes and speaking black verse, and bestriding the landscape of England was nothing but a preparation for sitting in the captain's chair of the Enterprise.
Never allow the fear of striking out keep you from playing the game.
With Othello, Shakespeare posed this problem of a black man in a white society in the role that he's playing. And Shakespeare gave Othello such dignity - he came not from - as he said - not from hate but from honor, from a sense of his own human dignity. And to me, to my mind, there could be no greater character played.
People are always asking me to do Shakespeare - at home, at colleges, on film locations, in restaurants. It's like playing a piece of music, getting all the notes. It's great therapy.
There's a reason Tony Stark makes fun of 'Thor,' and mentions 'Shakespeare' in the park in 'The Avengers.' It's great to play high drama and comedy alongside a modern story.
Never change your originality for the sake of others. Because no one can play your role better than you.
I was already devouring literature and I was the ripe old age of 15 when I decided to be an actor. I just thought plays were the most fantastic way of expressing life. I thought I'd discovered Shakespeare - 'hey, there's a new guy in town, don't know if anyone's read him.' I was just excited about the whole thing, from day one.
The most charming of theories holds that someone other than Shakespeare wrote Shakespeare's plays -- that he was of too low a state, and of insufficient education. But where in the wide history of the world do we find art created by the excessively wealthy, powerful, or educated?
People are going to say, ‘Well, it’s not very truthful.
’ But a songwriter doesn’t care about what’s truthful. What he cares about is what should’ve happened, what could’ve happened. That’s its own kind of truth. It’s like people who read Shakespeare plays, but they never see a Shakespeare play. I think they just use his name.
We cannot change the cards we are dealt, just how we play the hand ~Randy Pausch
But Shakespeare one gets acquainted with without knowing how.
It is a part of an Englishman's constitution. His thoughts and beauties are so spread abroad that one touches them everywhere; one is intimate with him by instinct. No man of any brain can open at a good part of one of his plays without falling into the flow of his meaning immediately.
I read a lot of detective stories because they always deliver.
They give you a beginning, a middle, and an end - a resolution. The modern novels I read don't always deliver because I'm looking essentially for a story. As in Shakespeare, "The play's the thing." In particular I read detective stories for pacing, plot and suspense.
When I closed in "King Lear" I went into a period of depression for about three weeks, and every actor I've talked to who's ever played a major, major Shakespeare role has done this.
I don't think of work as work and play as play. It's all living.
There's more of yourself in a book than a play.
that's why we know all about Dickens and not much about Shakespeare. Ben Jonson murdered people; Marlowe was a spy; Shakespeare just sat in the corner and took notes.
I enjoy doing martial arts films, but I like the straight stuff, too.
I'd like to go back and do some Shakespeare, and maybe knock out a play or two. It's all about keeping balance.
Shakespeare is the outstanding example of how that can be done.
In all of Shakespeare's plays, no matter what tragic events occur, no matter what rises and falls, we return to stability in the end.
It's better to be a pirate than to join the Navy.
You may be able to read Bernard Shaw's plays, you may be able to quote Shakespeare or Voltaire or some new philosopher; but if you in yourself are not intelligent, if you are not creative, what is the point of this education?
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.
Classical plays require more imagination and more general training to be able to do. That's why I like playing Shakespeare better than anything else.
Let us play in the sun and count every beautiful thing we can see.
I'd say our ability to supersize emotions are American-made special effects.
In European countries, people mostly stay close to home and whatever rage there is simmers under the surface - it's what made the plays of Shakespeare and Harold Pinter so good.
It's actually now, more common to see conceptual productions of Shakespearian, which Hamlet is played as a Nazi, or a homosexual, or whatever concept is being laid over the play, then it is to see a production of Shakespeare in which there is no conceptual overlay and the play is simply being presented on its own terms.
I think William Shakespeare's like a passport through your life: as a kid hearing about a play with fairies or witches or ghosts, you get excited by that possibility. Then later on you become interested in the psychology or the politics or the beauty of the language. You grow up with the plays. King Lear is one that I don't feel grown up enough to do yet.
Every individual matters. Every individual has a role to play. Every individual makes difference.
Literate households in the 17th century would have had the Bible, John Bunyan's "The Pilgrim's Progress," and a couple of other books. Shakespeare plays were cheap, so you could buy those, but a folio cost a pound, which was an incredible amount of money then.
I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.
Until I was a junior in high school, I was a "boy scientist" type and expected to go into chemistry. Then I discovered the humanities. I read the plays of Shakespeare voraciously, some novels, such as Pasternack's Dr. Zhivago and Sinclair Lewis' Main Street, and I got into philosophy by reading Kierkegaard and Nietzsche.
There is no passion to be found playing small, in settling for a life that is less than the one your are capable of living.
If Shakespeare's great plays are variants of stories, even novels, you can see how each character is telling his story from his perspective; each is vying with the others for dominance, but in the end, in tragedy, most of these voices will die, to be replaced by the yet more vigorous voice of a younger generation.
Every time we moved on, I joined a different class in a different school with different girls until, aged 13, my father had taken the decision to pull me out of school altogether. Everything I needed, he reasoned, could be found within the rich language of Shakespeare's plays at which, by then, I was something of an old hand.
Whenever I've been asked to be in a film, directors only want me to play myself.
.. I'm fascinated by the thought of being an actor, but it's too hard. And I think Shakespeare-which has been suggested to me-might be a bit of a stretch.
Never let the fear of striking out keep you from playing the game.
The way Shakespeare wrote Fallstaff is with a heightened language and everything. That's the genuis of having Ken Branagh here as well. Shakespeare doesn't require you to have a doctorate in his language or whatever to understand him. It just has to be directed and played right. It's all about scale and presence and getting these huge, epic stories across.
I want to diversify a bit. I don't wanna throw myself into another big blockbuster or another big franchise anytime soon. So smaller films, just small little interesting parts, I think I'd even like to play around with some really good supporting roles and then develop into - I don't know just like feel my way into it a bit more. I don't know, I'd love to try some theater. That's my other thing. I'd love to do some Shakespeare.
In Shakespeare's plays, the mourner hastening to bury his friend is all the time colliding with the reveller hastening to his wine.
Champions keep playing until they get it right.
I think it's always funny when you see kids do Shakespeare.
When I was at school, I was in Hamlet. I played Claudius, who's supposed to be a 60-year-old man, and I was like 18. It's inherently ridiculous seeing 18-year-old boys with gray beards. That's always funny.
Shakespeare is God, of course. I have studied his plays for the vast majority of my sentient life. When I was a kid, my parents found an old copy of the LP recording of Richard Burton in John Gielgud's Broadway production of Hamlet and they gave it to me for my birthday. I listened to it till the grooves wore thin and I was off and running.
You travel the world, you go see different things.
I like to see Shakespeare plays, so I'll go - I mean, even if it's in a different language. I don't care, I just like Shakespeare, you know. I've seen Othello and Hamlet and Merchant of Venice over the years, and some versions are better than others. Way better. It's like hearing a bad version of a song. But then somewhere else, somebody has a great version.
My favorite play is Hamlet. It was my first love when it comes to Shakespeare, and I've read it and seen it performed more than just about every other Shakespeare play. I've had the "To be or not to be" monologue memorized since I was 15, and it's just really close to my heart.
Shakespeare villains were extraordinary.
Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.