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ENDURING CLASSICS
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OVERHEARD At the AMERICAN THEATRE WING SEMINARS

The American Theatre Wing, founder of the Tony Award and sponsor of a number of other programs to promote live theatre, holds two seminars a year - in fall and spring - called Working In The Theatre. These three-day sessions invite drama students from colleges and universities in the Metropolitan area, members of theatre unions, the cast of Broadway, Off-Broadway and Off Off-Broadway shows and theatre lovers in general to hear all-star rosters of actors, directors, playwrights, producers and other theatre artists discuss the problems and rewards of working in the theatre. The workshops are held at the Graduate Center of the City University of New York and PLAYBILL presents here some quotable quotes from past seminars.

SWOOSIE KURTZ: "I wanted to be a dancer - a prima ballerina, of course. But I had a drama teacher in high school - there's always someone who lights the fire for you - and something happened with acting. It made me feel important."

LORETTA SWIT: "I started as a dancer and to this day I have to take two different sized shoes because I crippled myself in dance class. We act with our entire body. Dance is good basic training for that."

ANN REINKING: "As a dancer, there's no way to get into top shape unless you dance every night. It's the same way as an actor or singer, there's no way to get into a kind of excellence, a kind of mental situation unless you're right up there putting your cards on the table. It's a sublime experience and one that I don't think can be duplicated. But if you don't have that opportunity, you should study. There are shools that can teach you what you should know, when you are starting."

JEAN STAPLETON: (On the difference in acting technique in the movies, stage and TV) "Your basic acting doesn't change. The difference is in amount of projection - and not just your voice. The discipline of each one helps the others. A camera reaches into your thoughts - you can't hide. There's a great discipline though to go back into the theatre and again not hide."

SIGOURNEY WEAVER: "Perhaps the best thing that I got out of Yale (School of Drama) was that all the playwrights and directors with whom I attended classes came to New York at the same time, we all knew each oner, and we hired each other. My first paying part was in Titanic by Christopher Durang (another classmate)."

JOHN GUARE: "When you meet a director for the first time, you do a gavotte and a minuet and a waltz and a tango...I was once talking with Lanford Wilson about how to pick a director. He said he asks, 'Tell me the story of my own play. If his story matches up with mine, maybe we can work together.'"

JOHN PIELMEIER: "From the point of view of the playwright, the director who makes changes should burn in hell for attempting something like that, and if it works, all the more! However, I've been an actor in plays where I felt the director really knew what he was talking about, and the playwright really didn't."

ARVIN BROWN: "The part of the pre-production relationship between director and writer that scares me is that the writer is almost too willing to encompass the director's suggestions. The gut impulse is his. If you can't tap the gut impulse, you're in a lot of trouble."

AIDAN QUINN: "Basically, you say,'If I'm going to believe the good reviews, I'm going to believe the bad ones.' You can't give the press power to define who you are or to destroy you. If you do, they will…"

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