A Quote by Henry Rollins

It's always been impressive to me when someone can really do what they want onstage. The audience has confidence in the performer and the performer has confidence in the crowd.
I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.
A large part of me becoming a performer was a make-or-break way of getting over that stutter. I sometimes wonder if, subliminally, that was part of the reason I got into the business, and the more I became a performer and grew in confidence, the less pronounced the stutter became.
When you talk about the exchange of energy between performer and audience and audience and performer, I hope that I'm one of the best.
I believe that classical music comes through listening and practice, and it can be fun both for the singer or performer and the listener or audience, as long as the performer is taught to recognise the pulse of the audience.
It's great to watch someone get the most out of what they can do, whether they're a beautiful performer or just a really gritty performer. It's something to behold.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
Enthusiasm is my superpower. One might say that confidence yields the same result. I disagree. Confidence is about yourself, enthusiasm is about something else. Confidence is impressive, but enthusiasm is infectious. Confidence is serious, enthusiasm is fun.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
I had to go off to do my own thing, to get my confidence as a writer, and a performer.
All I want to do is be onstage. A performer needs to perform.
The confidence in my ability to be a performer, a steeliness about survival... I learnt all those things from my dad.
I genuinely have never been in an audience where most people want that person to fail. I've never been in an audience like that, and I've never seen it as a performer. Only in my dreams, in which case they are always throwing tomatoes and going, "This is the most boring thing I've ever seen."
I'd been writing sketches since high school, but 'Friends of the People' really taught me about structure - how to wait out a joke, how to stick with it for a while. It also made me more confident onstage as a performer.
I find that the British audience listens and they accept the performer for its value, value as a singer, as a vocalist, value as a performer. You're only accepted if you're good.
As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.
... it took me five years of going right into the mouth of the lion to learn to be at ease onstage ... if you deal with an audience as a bunch of people having a great time, you'll have a much bettrer time as a performer
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