A Quote by Michael Tilson Thomas
And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.
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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.
Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
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.
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 think it's important as a performer, no matter where I travel, if I run into someone at the airport or I'm having a conversation on an airplane, run into someone on the sidewalk, or you're waiting on a long line and you start talking to somebody, who doesn't really share a lot of your same views, but then you come to commonality, I think that's very very important as well.
For me, the most important thing is the element of chance that is built into a live performance. The very great drawback of recorded sound is the fact that it is always the same. No matter how wonderful a recording is, I know that I couldn't live with it--even of my own music--with the same nuances forever.
For me I always need to have two sides to me when I play! I need to be a performer and at the same time the producer. So I need to be somewhere up in the air and producing my music. I can't just be the performer; otherwise I can't see the whole view. I need the big view!
A performer may be taken in by his own act, convinced at the moment that the impression of reality which he fosters is the one and only reality. In such cases we have a sense in which the performer comes to be his own audience; he comes to be performer and observer of the same show. Presumably he introcepts or incorporates the standards he attempts to maintain in the presence of others so that even in their absence his conscience requires him to act in a socially proper way.
Performance for another in no way signals the inferiority of the performer to the one for whom the performance is intended.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
I think a lot of longevity, especially as a performer, depends on kind of what your commodity is. If your commodity is your cuteness and your chubby cheeks and your big gap between your teeth, if that's what your greatest asset is, of course that fails or that changes, you know, that goes away. Of course that fades.
Performance-wise, you really need to be down in the trenches; you need to do the hard work, for a lot of reasons: To build yourself as a performer, to get a sense of the audience, to work hard and to wonder, 'Do I really want to do this?'
These are not necessarily our agendas, but we feel a part of what a performer is, and what a performer has to say is more than just words and music.
When you're a performer, of course you want an audience, but it's very, very different from courting fame.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
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