Quotes by Trevor Nunn - Page 1

I so wanted to perform, and I grasped every opportunity.
Trevor Nunn / Theatre Director
Opportunity
Wanted
Perform
Every Opportunity
Grasped
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One fine day I discovered that more complex plays really have to be directed.
Trevor Nunn / Theatre Director
Complexes
Fine
Fine Day
Play
Complex
Directed
Discovered
Plays
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Mem'ry All alone in the moonlight I can smile at the old days Life was beautiful then.
Trevor Nunn / Theatre Director
Beautiful
Memories
Song
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I've just taken the decision that I'm going to now go full time back into the theater.
Trevor Nunn / Theatre Director
Decision
Taken
Theater
Time Back Go
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If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
Trevor Nunn / Theatre Director
Integrity
Sacrifice
Very Deep
Deeply
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I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
Trevor Nunn / Theatre Director
Actors
Feelings
Real
Exchange
Shakespeare
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A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
Trevor Nunn / Theatre Director
Analysis
Hygiene
Literature
Performing
Instincts
Direction
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I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.
Trevor Nunn / Theatre Director
Imagination
Believe
Planning
Project
Imaginations
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The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
Trevor Nunn / Theatre Director
Decision
Directors
Ghouls
Intolerable
Swallow
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If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.
Trevor Nunn / Theatre Director
Arrogance
Creativity
Livelihood
Self Confidence
Director
Dangerously
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I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.
Trevor Nunn / Theatre Director
Contemporary
Feelings
Musical
Musical Theater
Opera
Theater
Classical
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I've experienced a private doubt, something that I've kept deeply inside, and then eventually delivered a piece of work that people responded to with huge enthusiasm.
Trevor Nunn / Theatre Director
Doubt
Enthusiasm
People
Pieces
Deeply
Delivered
Experienced
Piece
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I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.
Trevor Nunn / Theatre Director
Casts
Disappointed
Way
Would Be
Cast
Terribly
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The thing that I had saved up for myself and wanted most to bring off was a fully fledged professional production of Hamlet at the Royal Shakespeare Theater in Stratford.
Trevor Nunn / Theatre Director
Royal
Saved
Theater
Wanted
Fully
Hamlet
Shakespeare
Stratford
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You are faced with the choice: either my integrity remains intact and this is the work that ends up on the screen, or I have to leave, and I have to be known to have left.
Trevor Nunn / Theatre Director
Remains
Faced
Intact
Screen
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In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.
Trevor Nunn / Theatre Director
Artistic
Fortunate
Integrity
Limits
Producers
Theater
Allowed
Commercial
Define
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Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.
Trevor Nunn / Theatre Director
Economic
Language
Needs
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In my teens, I developed a passionate idolatry for a teacher of English literature. I wanted to do something that he would approve of more, so I thought I should be some sort of a scholar.
Trevor Nunn / Theatre Director
Teacher
English Literature
Idolatry
Literature
Passionate
Scholar
Teens
Approve
English
Developed
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If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant.
Trevor Nunn / Theatre Director
Believe
Comment
Criticism
Ideas
Meant
Fully
Group
Hold
Onto
Quickly
Received
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When I was 13 years old, a professional theater company in my town needed a kid actor. I auditioned, and I got the part, so for just a few weeks I became a member of the company and I met some professional actors.
Trevor Nunn / Theatre Director
Kids
Actors
Theater
Years
Member
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The first big break was winning a scholarship to go to Cambridge University. I was very lucky, because my parents couldn't have afforded a university education for me. Without a scholarship I couldn't possibly have gone.
Trevor Nunn / Theatre Director
Cambridge
Cambridge University
Parent
Scholarship
University
Winning
Afforded
Education Me Parents
Big Break
Possibly
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In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor.
Trevor Nunn / Theatre Director
Men
War
Father
Furniture
Payment
Soldier
Maker
Early Years
Highly
Skilled
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I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.
Trevor Nunn / Theatre Director
Challenges
Development
Ideas
Rehearsal
Arrive
Developed
Rehearsal Process
Strongly
Subject
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In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.
Trevor Nunn / Theatre Director
Criticism
Decision
Dictatorship
Listening
Receiving
Responding
Views
Conflicts
Earlier
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Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.
Trevor Nunn / Theatre Director
Home
Ensemble
London
Peter
Royal
Organizing
Hall
Happening
Repertory
Shakespeare
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When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
Trevor Nunn / Theatre Director
War
England
First World War
Historical
Musical
War Work World
Commissioned
Documentary
Event
First Thing
First World
Material
Stratford
World War
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So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.
Trevor Nunn / Theatre Director
Brand New
Careers
Musical
Pantomime
Play
Professional Career
Song
Theater
Occasionally
Shakespeare
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What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
Trevor Nunn / Theatre Director
Humility
People
Play
Relate
Yourself People Way
Analyze
Anybody
Persuade
Professional
Putting
Sense
Text
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