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An actor is a guy who, if you ain’t talking about him, he ain’t listening.
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An actor is only merchandise.
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An actress must never lose her ego — without it she has no talent.
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An agent is a person who is sore because an actor gets 90% of what they make.
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And Tragedy should blush as much to stoop To the low mimic follies of a farce, As a grave matron would to dance with girls.
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And what the actor could effect, The scholar could presage.
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And, like a strutting player, whose conceit Lies in his hamstring, and doth think it rich To hear the wooden dialogue and sound ‘Twixt his stretch footing and the scaffoldage, Such to-be-pitied and o’er-wrested seeming He acts thy greatness in; . . .
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As an actor one does read Shakespeare and does try to learn the classics.
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As in a theatre the eyes of men, After a well-graced actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious, Even so, or with much more contempt, men’s eyes Did scowl on gentle Richard.
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But as for all the rest, There’s hardly one (I may say none) who stands the Artist’s test. The Artist is a rare, rare breed. There were but two, forsooth, In all me time (the stage’s prime!) and The Other One was Booth.
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Cartoonists have the best casting system. If they don’t like an actor, they just tear him up.
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Come, sit down, every mother’s son, and rehearse your parts.
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Comedians are not actors; they are only imitators of actors.
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Comedy is acting out optimism.
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Don’t you wish you had a job like mine? All you have to do is think up a certain number of words! Plus, you can repeat words! And they don’t even have to be true!
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Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clichT. But the femme fatale expresses women’s ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men’s relations with women.
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Even kings but play; and when their part is done, some other, worse or better, mounts the throne.
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Every man has inside himself a parasitic being who is acting not at all to his advantage.
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Farce follow’d Comedy, and reach’d her prime. In ever-laughing Foote’s fantastic time; Mad wag! who pardon’d none, nor spared the best, And turn’d some very serious things to jest. Nor church nor state escaped his public sneers, Arms nor the gown, priests, lawyers, volunteers; ‘Alas, poor Yorick!’ now forever mute! Whoever loves a laugh must sigh for Foote. We smile, perforce, when histrionic scenes Ape the swoln dialogue of kings and queens, When ‘Chrononhotonthelogos must die,’ And Arthur struts in mimic majesty.
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Few rash of any modern nation have a proper sense of an aesthetical whole; they praise and blame by parts; they are charmed by passages. And who has greater reason to rejoice in this than actors, since the stage is ever but a patched and piecemeal matter?
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