A Quote by Holly Hunter
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
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And from the first moment that I ever walked on stage in front of a darkened auditorium with a couple of hundred people sitting there, I was never afraid, I was never fearful, I didn't suffer from stage fright, because I felt so safe on that stage. I wasn't Patrick Stewart, I wasn't in the environment that frightened me, I was pretending to be someone else, and I liked the other people I pretended to be. So I felt nothing but security for being on stage. And I think that's what drew me to this strange job of playing make-believe.
The whole concept of stage fright is fascinating. Actors get stage fright, but they wouldn't be on the stage in the first place if they just succumbed to it. There's this love/hate relationship with the spotlight.
I don't know about other comedians, but I know that I never have felt anything like stage fright. I've felt nervous before big shows, but I think that's different than stage fright.
I have horrible stage fright - you know how you go through the bi-polar stage fright thing? Then you go on drugs to get over the stage fright and perform, but then you're not funny at all.
Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.
There was a while when I got really bad stage fright and I basically felt...I was incredibly angry. I felt like everything had been taken away from me and it was at that point that I realized how much doing stand up reminds me of my self love and curiosity about myself and love of other people because I don't go on stage to dominate.
People say to me, you have not got stage fright. And if I haven't got stage fright, then I'm going to be comfortable within myself, and then something - I've always been that way and so I'm fighting to get away from that fear.
The first time on stage is such a blur to me. I remember how it felt more than anything. I remember everything about the day before I went on stage - what I ate, the first person I met in the club, how I felt beforehand - but the actual being on stage is a total blur.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
Since the departure of good old-fashioned entertainers the re-emergence of somebody who wants to be an entertainer has unfortunately become a synonym for camp. I don't think I'm camper than any other person who felt at home on stage, and felt more at home on stage than he did offstage.
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.
When I was little, all I could think about was just being on some kind of stage, whether it be on a live stage, whether it be on a set stage.
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.'
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
When I was doing 'Britain's Got Talent,' I really enjoyed it, but I found it very difficult to be in the audience. I like to be on stage; I feel safer on stage because I'm in control.
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