A Quote by Natalia Makarova
I prepare myself very intensely. I am at the theatre four hours before the performance. It allows for complete concentration and preparation.
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I arrive at the theatre four hours before the beginning of the performance. I must get accustomed to the hall even if I know it well.
I believe you have to learn how to win. And that just doesn't come from going out on the basketball court and playing. That comes from hours and hours of preparation, preparation before that game, preparation for the other team you are playing, mental preparation.
The right kind of practice is not a matter of hours. Practice should represent the utmost concentration of brain. It is better to play with concentration for two hours than to practice eight without. I should say that four hours would be a good maximum practice time-I never ask more of my pupils-and that during each minute of the time the brain be as active as the fingers.
Don't waste life in doubts and fears; spend yourself on the work before you, well assured that the right performance of this hour's duties will be the best preparation for the hours and ages that will follow it.
I like a book. I like to read for four hours at a stretch. I think very few are the young people who are even capable of reading for four hours at a stretch, because it's such a bizarre thing for them to do. I am mourning this.
Preparation is very important. The pitcher is going to do his job and prepare for you, so you as a hitter must do the same. I always watch videotape of pitchers before the game and even sometimes during.
Preparation is very important. The pitcher is going to do his job and prepare for you so you as a hitter must do the same. I always watch videotape of pitchers before the game and even sometimes during.
Behind every brilliant performance there were countless hours of practice and preparation.
Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.
I have a few methods that I use. One of them that kind of works but is a bit a boring is that I lock myself in the studio and I have four hours to work and come up with stuff. If nothing's sticking in four hours, then I can stop.
The great piano virtuoso Paderewski was once playing before an audience of the rich and the royal. After a brilliant performance, an elegant lady waxed ecstatic over the great artist. She said, "Ah Maestro, you are a genius!" Paderewski tartly replied, "Ah yes, madam, but before I was a genius I was a clod!" What he was saying was that his present acclaim was not handed to him on a silver platter. He, too, was once a little boy laboriously practicing his scales. And even at his peak, behind every brilliant performance there were countless hours of practice and preparation.
It's a big moment, a heart-rate moment. It's all in the preparation for me. Watching the various takers, I can prepare as best I can. I can prepare, too, with my own team-mates - they practise, which, in turn, helps me practise trying to save penalties. I want as much confidence as I can in the preparation and then take it from that.
When I'm waiting to bat I try to watch the game and make sure I know what is going on so I am ready when I get out there but I spend a lot of time hydrating. It is very important for your performance and concentration. If it is cold I might have a coffee but mainly I am trying to stay really hydrated.
It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.
Performers should realize they not only have to prepare themselves for concert purposes as far as memorizing their programs goes, but for the business of just walking out before the people …. It is important to play before an imaginary audience too. Before I play in public I very often play a program three or four times as though I were seated before a actual audience.
Education fails unless the Three R's at one end of the school spectrum lead ultimately to the Four P's at the other-Preparati on for Earning, Preparation for Living, Preparation for Understanding, Preparation for Participation in the problems involved in the making of a better world.
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