A Quote by Debra Stephenson
It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!
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No matter what you're doing, whether it's a makeup tutorial or an interview or a lip sync, performance is the essence of drag. It is gender performance. Being able to produce a performance is what a superstar has to do.
I care about being formally physically attractive in my life, and I think that I am quite vain about my performance. I'm just not vain about how I look while I give the performance.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
If you listen to my tapes, you'd hear 14 different ways to arrange the rhythm guitar behind the harmony vocal, and then 14 different ways with a different vocal. You'd have to really be a music lover to sit through that and find it entertaining. I enjoy it, but I'm easy to please.
The hardest thing for me was probably the different roles in the Performance Center because when you go to the Performance Center and become a WWE Superstar, you're on a different schedule. But in the indies or in Mexico, you have your time.
My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.
Men are enforced into a kind of silence about their gender; they're supposed to not think of it as a performance. That's the definition of manliness - that it's not a performance; it's being yourself, authentic. Whereas women have understood gender as performance. Men have not yet made that quantum leap, or rather they're making it in many ways, they're not thinking about it.
I can sit on a chair with a score and give myself a wonderful performance.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
Acting can be very solitary, even if you're in a scene with someone else, because you worry about your own performance and if you look good.
I quite like it to be risky. I'm not ready to sit down in a chair with my name on it yet. I've arrived at that point in the art world where there really is a chair that you sit in.
Everybody comes in with a certain goal. Some are performance, some are aesthetic. Even athletes have aesthetic goals, but first and foremost, they have performance goals, and those need to be addressed. They have weaknesses that need to be shored up. You have to manage expectations sometimes.
It was important to have a similar energy in my performance. To make the character too different would have just been about my ego because it didn't need to be drastically different.
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
At 170... I need to have a 97 percent performance. And some of the guys at 170, they need to have maybe an 85 percent performance. They need to not be at their best for me to beat them.
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