A Quote by Mj Rodriguez
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.
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Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.
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."
What I do on stage, you won't catch me doing off stage. I mean, I think deep down I'm still kind of, like, timid and modest about a lot of things. But on stage, I release all that; I let it
go.
When you think Tink, you should just think of me as that around-the-way girl - relatable and honest. Even in my lifestyle, my entire aura is real. I don't sugarcoat anything, whether I'm on stage or home in Chicago or just behind the scenes just chilling. I'm the same person you see on stage, always.
I was a dreamer. When I was on stage I didn't have to think about whether I could pay the rent. I was just having a great time.
Once you do a piece on the stage, you become that poem or you become that piece. That's really who you are. I think that's why some artists have stage names, you know? I don't have a stage name, it's pretty much just me.
One think that you notice about anyone that gets up on stage is that they don't really have a lot of self-awareness. It's kind of a trait that performers don't have because you just kinda just have to let go and do whatever you want to do on stage.
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.
As a mom, what I found so disturbing were the things that were being said on a national stage - I mean, literally on the stage and off the stage, around the convention about women, about minorities, about Muslims, about immigrants.
At every sound check, I try to practice on the stage that we're gonna play on that night, 'cause every stage is different. Whether it's concrete or whether it's plywood or whether it's Plexiglas, it all requires different things. You can't dance on concrete as well as you can dance on Plexiglas.
On some level acting is the art of pretend and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.
On some level, acting is the art of pretend, and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there, no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.
I always say that I've grown little flaps on a stage and I've got these little gills that open, because on the stage I'm in my element and I'm like a fish that's come out when I'm on land, which is filming. I'm never quite as comfortable as I am on the stage.
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.
I put my life in danger every time I do some of these demonstrations, whether it's in the audience hanging upside down or on the stage. We now have a lot of dangerous stunts where anything can go wrong. In fact, I have fallen two stories and landed on the stage, so I am well aware of the dangers.
I think nervousness - a heightened sense of nerves and attention is a very healthy thing for a performer. It is an artificial environment that you are going into whether it's concert or recital, or stage. When I know something so well, I've done it so often, and you kind of walk out for Tuesday night's performance, or you feel like that, that makes me more nervous then being geared up. A little bit like race horses. In the same way that the horses are always difficult to get into that lineup, the worst time of my life is the 10 or 15 minutes before I go on stage.
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