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I have never seen a game's graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.
I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.
I've done both theatre and film and the fact is if you start believing, if you start reading things and they're good reviews - you believe that and you're lost, and then you read bad reviews and you think that's true and you read that and you're lost.
As a kid, we had one television channel and a sad little roller rink. And there was not much else to do. So I used my imagination all of the time growing up. That's the main way I played. When we moved and I went to high school, I did my first play, and I was completely addicted to theatre. It felt like home; it felt natural.
I'm definitely nervous and excited. I feel like I've been playing off-Broadway, not to say that Boston doesn't have a great theatre district or great theatre, but it's not going to Broadway; it's just a different city.
Theatre was an art form that I didn't really respect, and because I wanted to shake it up and do different things on stage, I was able to combine all the things I'd learnt through writing on my own.
I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.
It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.
I would love to do anything involving a good strong character, whether it's in film, TV or theatre. My dream role's already been taken by Keira Knightley in 'Pride and Prejudice.' Growing up, I really wanted to be Lizzie Bennett.
Having started out in theatre, I feel an impulse to do it as much as I can.
The first time I came to London on my own, I was 15. I was absolutely oblivious to so many things. I had no expectations, no fears. I just came to do a National Youth Theatre season one summer. It was just brilliant.
I came up almost completely through the subsidised theatre. I have never been absolutely at the market interface, where I've got to sell my wares or die - I've always been protected from that.
Doing 'EastEnders' wasn't exactly suffering, but my soul's not in quick-fix TV. Theatre doesn't pay like TV work pays, though. We all have to live, don't we?
I feel there's enough seriousness in the world without seeing it in the theatre.
So for me, it can be theatre or being in L.A. or in some other part of the world, as long as I can explore storytelling and human connection through storytelling, I'm quite content.
The deaf community is in a favorable position because they have a national theatre and training groups of their own to get them started. Deaf actors have often acquired very valuable skills and experience before they get their break.
It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.
I still think of myself as a stage actor. When I do film and television I try to implement what I was taught to do in theatre, to try to stretch into characters that are far from myself.
If you swap it about, do television, theatre, film, you can go on surprising yourself. The problem is you get employed to do something you've already done. They want something from that sheep pen of performances they've seen you do.
People know that they're going to see something which is entertaining but challenging as well because of the form it's in. It's dance theatre and it requires you to use your imagination - it's not straight forward.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
What draws me to the theatre, and what appealed to me about Too Much Light, is that you have no idea what's going to happen. That's the most exciting part of theatre, it's never the same. If it were, it would be like watching a movie.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
I received the most fantastic welcome to the Broadway Theatre community. I walked on stage to tremendous applause and a long standing ovation, wondering when I was ever going to be able to say my first line!
A career in the theatre demands so much commitment.
I loved theatre and film when I was growing up in Harpenden, Hertfordshire. My mum's a reflexologist and my dad's a corporate financier.
Leonardo da Vinci
A. P. J. Abdul Kalam
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Finding good players is easy. Getting them to play as a team is another story.
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