A Quote by Marina Abramovic

If you do performance and music, it's not performance as music. — © Marina Abramovic
If you do performance and music, it's not performance as music.
Music, in performance, is a type of sculpture. The air in the performance is sculpted into something.
The performance of performance has developed to such an extent in recent years that it challenges the music itself and will soon threaten it with relegation.
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.
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
The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
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.
Performance and music are inexorably tied together. And hell, I'll watch Brittany's Toxic music video all day. But there's a difference between that and listening to Leo Kottke play guitar. One is entertainment. The other is Music.
One thing about skating that I don't think people focus on enough is the music factor. The music is a huge component of figure skating. It can dictate not only the choreography but the emotion. If it's not the right music it can ruin a performance.
A sloppy performance in a photograph is as distressing as a sloppy performance in music.
When recordings replaced concerts as the dominant mode of hearing music, our conception of the nature of performance and of music itself was altered.
Music therapy, to me, is music performance without the ego. It's not about entertainment as much as its about empathizing. If you can use music to slip past the pain and gather insight into the workings of someone else's mind, you can begin to fix a problem.
Words when spoken out loud for the sake of performance are music. They have rhythm and pitch and timbre and volume. These are the properties of music and music has the ability to find us and move us and lift us up in ways that literal meaning can't.
The performance on the stage has its reasons in the performance induced in thousands of separate minds and this second performance is no less prodigious than the first.
I think that there is such power with the live performance of it - so much of what 'Motown' is about is the live performance aspect, really. The power of our production is really the music and the performances.
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've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
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