I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.
No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama.
I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.
I hate that you don't have the insight. I hate that you shamelessly returned despite being kicked out. I hate that you don't even seem to have the slightest self-respect. And also the fact that you used San as your "heart-wrenching" excuse to return. Back to this hell-hole.
The drama teacher that I had in high school, back in Texas, was the only teacher who didn't kick me out of his class. He turned me on to 'The Freewheelin' Bob Dylan. ' I had picked up Dylan with 'Bringing It All Back Home,' and he turned me on to the first couple of albums, which I hadn't heard.
I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
I knew I wanted to go to college and I wanted to study it acting, so I just looked for the best school that I could get into. Luckily, I had very supportive parents. I went to a conservatory that is basically drama school. You take one English class and one history class for four years but you don't take any other science or anything like that. It's strictly, from 7am until night, all acting. It's a lot. Some people find it too much, but for me I was preparing for a career and I never really looked back.
You can only do so many serious dramas in a row before you want to break. You want a change.
The dramas for me allow me to explore more behavioral, deeper psychological things. But the comedies obviously allow me to explore the idea of really working off other people. I'm having more fun doing that.
Moshe Sluhovsky's fascinating study links spirit possession, exorcism, and mystical practice in early modern Europe. Women and men, healers and priestly exorcisers are caught up in a new quest for truth and introspection as they try to figure out whether these dramas of body and soul come from the devil or God. A stunning feat of scholarship and interpretation.
Drama in our lives is the greatest indicator that we're not focused on meaningful goals. On the path to purpose you don't have time for drama.
My biggest accomplishment was playing "Lark" on the daytime drama Port Charles because it was the most regular acting job I have had, and I had to step in and fill someone else's shoes.
Knowing about comedy has helped me with the drama. To see people laugh, it's like there are moments of catharsis in the middle of sadness.
I hold that the beginning of modern Irish drama was in the winter of 1898, at a school feast at Coole, when Douglas Hyde and Miss Norma Borthwick acted in Irish in a Punch and Judy show; and the delighted children went back to tell their parents what grand curses 'An Craoibhin' had put on the baby and the policeman.
With a novelist's sense of drama and a historian's understanding of the social forces that shape our lives, Tom Gjelten has captured vividly -- through the chronicle of a powerful family's fortunes -- one of the great political dramas of our time.
Drama usually has some sort of intense conflict.
My natural accent is American. I chose to speak with a U. K. accent when I was about to enter the final year at drama school in London. I was going to try to find a way to stay in the U. K. after I finished college and could not imagine trying to live and get work there with an American accent.
(on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977) We were really worried about changing over from a three-camera half-hour comedy to a one-camera full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.
Opera is music AND drama. I'm prepared to sacrifice the beautiful note for the meaningful sound any time. . . I can make a pretty tone as well as anyone, but there are times when the drama of a scene demands the opposite of a pretty sound.
I think television is a unique form, in terms of storytelling. Having source material for these really dense, complicated, serialized dramas is a great way of world-building.