This concept must be changed; we must realize in our bones that almost everything in time and history has changed except the human being.
UTA HAGENIt must be noted that it is often the colleague or direct disciple of a new thinker who gets stuck in literal interpretations of the work, tending to freeze the new ideas and language into an inflexible, static condition.
More Uta Hagen Quotes
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If you want a bourgeois existence, you shouldn’t be an actor. You’re in the wrong profession.
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Working with Brando was fun. It was like a tennis match. We played unbelievably well together.
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To rebel or revolt against the status quo is in the very nature of an artist.
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no work of art is ever finished, nothing is ever static, no performance is for keeps.
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One cannot demand of art that it pay you in any other way than in the satisfaction of the work itself.
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For some strange reason, we believe that anyone who lived before we were born was in some peculiar way a different kind of human being from any we have come in contact with in our own lifetime.
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Once in a while, there’s stuff that makes me say, That’s what theatre’s about. It has to be a human event on the stage, and that doesn’t happen very often.
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Since the time of the ancient Greeks a democracy has depended on its philosophers and creative artists. It can only flourish by continuous probing, prodding, and questioning of the social conditions under which man exists and tries to better himself.
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I won’t go to England because they won’t let my dog in.
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We must overcome the notion that we must be regular… it robs you of the chance to be extraordinary and leads you to the mediocre.
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Keep pace with the present. Take a trip to the moon. envision the future.
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Talent is an amalgam of high sensitivity; easy vulnerability; high sensory equipment (seeing, hearing, touching, smelling, tasting intensely); a vivid imagination as well as a grip on reality; the desire to communicate one’s own experience and sensations, to make one’s self heard and seen.
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The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn’t look like a violin is no reason to assume his techniques should be thought of as less difficult.
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It must be noted that it is often the colleague or direct disciple of a new thinker who gets stuck in literal interpretations of the work, tending to freeze the new ideas and language into an inflexible, static condition.
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Thoughts and feelings are suspended in a vacuum unless they instigate and feed the selected actions, and it is the characters actions which reveal the character in the play.
UTA HAGEN