A Quote by Christopher Reeve
And if you can channel the truth of your own experience onto the stage, that's what the audience wants to see.
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On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.
You know, you're doing the same show every day, and your inspiration, you have to look no further than the fact that you know people travel across the country to see you. In a lot of cases, this is that audience's only chance to see the thing, and so, that's what gets you up in the morning, and that's what gets you giving your best performance on stage, is the awareness that this audience is ready for it, and here to have an experience, and so in turn are you.
With a comedy, it's so important to see it with an audience and an audience who really wants to be there and is enthusiastic, otherwise it can be quite a traumatizing experience.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
As an artist, you want as many people as possible to see your work with no interference. And usually, I've gone onto fringe channels: BBC Two, HBO, Channel 4.
If you have a YouTube account, you essentially have your own channel, and anybody who subscribes, or any of your friends on YouTube, they're your audience.
Everybody is looking with his own world of desires, expectations, passions, lust, greed, anger. There are a thousand and one things standing between you and your world; that's why you don't ever see it as it is. Once your eye is completely clean, clean of all the dust, once it becomes a pure mirror, it reflects that which is. And that is truth and truth liberates, but it has to be your own. My truth cannot liberate you, Buddha's truth cannot liberate you. There is only one possibility of liberation, that is your own truth. And all that you have to do is to create a dispassionate eye.
The stage is one place where you come face to face with your audience, unlike cinemas where you cannot see the applause or the booing by the audience.
When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
I see everything like a movie. I laugh and cry, I smell, touch, see and describe my own experience. I don't care if this sounds strange; I am not the creator - I am only the channel. The story is given to me.
I have used movies to go to sleep at night. You flip from channel to channel to channel and see just enough to make your brain mushy and go to sleep.
Unfortunately, because the theater is always a poor relation when it comes to making the nut, it's not easy to get the audience in to see a play, unless you have a name that is recognizable, that the audience wants to see and is prepared to pay the $125 to see.
There's a method aspect to Campbell Scott character and he really wants to get into his character and he wants to cast to go on a fast so that by the time the play opens nobody's eaten in three days because he wants the audience to feel the pain from the stage.
When you sing, you put on a persona. I hide behind that person on stage. You can feel like death, but you have to put it on. The audience wants to see someone smiley.
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