Zitat des Tages über Repertoire / Repertory:
I was in the movies. I danced, I sang, I learned to work in front of a camera. It was like being in a repertory company.
After all these years of saying the same thing about the Alvin Ailey company - terrific dancers, awful repertory - I'm finally accepting the inevitable: I'm not going to change my mind, and they're not going to change their ways. And why should they, given their juggernaut success all over the world?
Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.
If you want to act, do school plays. If they're not there, create them, and the same with local repertory. They are the grounding for a lot of people. Make it happen.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
My first role was in the George Gershwin musical 'Crazy for You' at the Orlando Repertory Theatre when I was 11 - I grew up in Florida - and I wasn't old enough to be in it, but they let me anyway. I was just this little shrimp in a leotard.
It's important that we have the traditional operas and the repertory, but we should also have something new.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
The sage belongs to the same obsolete repertory as the virtuous maiden and the enlightened monarch.
I applied to American Repertory School up at Harvard at got in.
I went to a lot of theatre schools, got a lot of training, did a lot of repertory where you do a different play every night. I took a lot of voice, movement, and acting classes.
The one thing you can ask, I think, is that actors get paid a living wage. I would like it if all the repertory theatres that currently exist could do that. It would make a huge difference.
I come out of repertory theatre so I've been working under pressure my whole career.
I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.
I was trained in the repertory theater. You would do Moliere one night and Sam Shepard the next.
I used to do a lot of repertory theater. You're playing different roles all the time, and I love that.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.
I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.
Running my show is really like an actor being in repertory but where, in one day in one performance, you do scenes from a drama, a farce, a low comedy and a tragedy.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I realized that after years of studying Shakespeare and Chekhov and regional repertory theater, what I really wanted to do was bust in and rob a bank and jump in the screaming getaway car and tear through the city and get in a shootout.
My grandparents - both of my mother's parents - were actors, and they ran the Reading Repertory Theatre Company, through the town of Reading, where I come from.
I started doing repertory theatre in upstate New York when I was 15, went back when I was 16, and by that time decided that I really wanted to study drama seriously and go to an acting conservatory called Carnegie-Mellon University in Pittsburgh.