To rebel or revolt against the status quo is in the very nature of an artist.
UTA HAGENTo rebel or revolt against the status quo is in the very nature of an artist.
More Uta Hagen Quotes
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no work of art is ever finished, nothing is ever static, no performance is for keeps.
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I love going to the movies; I love watching good movie actors. They must know something I don’t.
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We were not allowed to say, Screw, but we could say, Hump the hostess, because hump is in Shakespeare.
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The need to be loved and protected is at a peak when we feel abandoned and are particularly vulnerable to difficult circumstances.
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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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If you want a bourgeois existence, you shouldn’t be an actor. You’re in the wrong profession.
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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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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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Working with Brando was fun. It was like a tennis match. We played unbelievably well together.
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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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Usually, someone who’s in a show gets me a ticket. I feel cornered. I can’t walk out if I don’t like it.
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Marlon was so sensitive, you thought the poor guy just had a bad education.
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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.
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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.
UTA HAGEN