Top 15 Angelique Rockas Quotes

Our mode of perception goes beyond that - we see all actors as people

The thing I like about having a company is the academic side. Then you forget about the academic side once you`ve done the administration and you start creating.

The first performance the company staged was Ford`s '`Tis Pity Shes a Whore'. It was well received. I like to choose the play, the directors, the designers.. it`s a total creative act.

I called my company "The Internationalist" because there are a lot of actors who are not English and are being prejudiced against, because they come from other countries. I don`t believe in accents or skin colour. My company has a very strong ethic of social justice to it . I try to incorporate actors from as many nationalities as possible."

follow motto by Cicero: “The life that nature has given us is brief, but the memory of a well spent life eternal.”

What is the role of the contemporary woman artist/actress, novelist, scriptwriter etc. etc.?
Women in the past have been the creators of the race, in the sense of procreation, a very noble and holy purpose I itself, but men have been the creators of culture, in the sense that we understand actress is over. Once you know what your objectives and values are, there can be no compromise. As founder and artistic director of Internationalist Theatre I was fulfilling both these functions. But, let me add, God help you if you are strong minded and an intellectual in England, where they are generally anti-intellectual and petrified of passionately held beliefs. They have given me such a rough ride you wouldn`t believe it. Tant Pis!!!!I`m not ashamed of spending six years at university, and I revel in intellectual discourse. I`m unashamedly high brow. And, as for fighting in a man`s domain, I`m known as the Greek warrioress, ha, ha ha...I come from a family of noble Greek women. My grandmother faced the Nazis during occupied Greece with a gun in her hand, and my mother is a veritable Hecuba, all strength and dignity.

The great British 1950`s theatre critic Ken Tynnan, described the theatre as “an independent force at the country`s life , a sleeping tiger that can and should be roused whenever the national (or international) conscience needs nudging”. And Griselda Gambaro`s EL CAMPO does just that. It is a savage protest against the indignities imposed on modern man and woman by the impersonal bureaucracies and dictatorships in a language of poetic and startling originality. In the figure of Emma, the tortured artist, the part I played, we find expressed an outcry against the imprisonment of artists and the suppression of artistic freedom.

Morally, good theatre and film for that matter disturbs and unnerves us, tries to rid us of our cliched reactions to the world around us by expanding our sympathies, stretching our imaginations, and enriches us.

I'm known as the Greek warrioress...I come from a family of noble Greek women. My grandmother faced the Nazis during occupied Greece with a gun in her hand, and my mother is a veritable Hecuba, all strength and dignity."

British theatre was xenophobic and tunnel visioned . There was a resistance to using actors from other ethnicities, cultures, and races in production of classics. And a resistance to the non realistic plays like those of Brecht, Genet and Tennessee Williams"

The breaking of casting cliches also broke boundaries. A short, Latin-looking actress like me playing classical roles such as Miss Julie , and playing them well, made casting directors uncomfortable. It was unheard of that a short, dark-haired actress of Greek temperament could play the aristocratic Miss Julie. Not beautiful or tall enough etc. It proved one of the best productions of Miss Julie ever seen in London.

The ground breaking production of the company, and the point at which the cross-cultural casting began to bite, was Brecht’s anti-war play Mother Courage. Just one comment in a review by critic Malcolm Hay jolted us into the realisation that we were making history: Why is an Indian actor playing the Pastor?

Our first play in 1981 was Jean Genet’s The Balcony , a prophetic choice, set in Paris in turmoil, just as London was being torched during the Brixton riots, an explosion of racial tensions that had been simmering for some time. I insisted on casting a Caribbean actress to play the lead, Irma the Madam of the Brothel.

At the end of my course I realized there was no place for me in South Africa because I found it difficult to function in a society that considered 75% of population inferior, that my community frowned on me as an actress, and my beliefs for a non-racial society now incorporated a fight for the equality for women an anathema to my conservative Greek community. I did not want to spend my life apologizing for who I was.

I arrived at as an undergraduate with two driving passions: a consuming interest for a politics of justice grounded in a Christian theology and acting, as a ‘revelation of the treasures of the human soul’ not as a form of exhibitionism. My search for justice grew out of the pain I experienced when I saw the ridicule my malformed brother elicited. I became aware of the evil that is prejudice, a form of injustice. My urge to redress this prejudice took a more social dimension during my years as a boarder at St Dominic’s Convent, where the great Barbara Hogan matriculated a year later than me though I only got acquainted with her at Wits.