A Quote by Steve Kazee

I'm a performer. I'm pretending to be someone else. I'm not putting my own self into the show every night. — © Steve Kazee
I'm a performer. I'm pretending to be someone else. I'm not putting my own self into the show every night.
What is faithfulness, anyway? Can you be unfaithful to your own feelings and faithful to someone else? Is it faithful to lie in bed night after night with someone you love but no longer desire while ardently dreaming of someone else?
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
Theater is such its own living, breathing animal. You do a show every night, but it's different every night. Being on stage, you're experiencing a journey.
All your life you pretend to be someone else, and it turns out that you were someone else pretending to be you.
You're all Buddhas, pretending not to be. You're all the Christ, pretending not to be. You're all Atman, pretending not to be. You're all love, pretending not to be. You're all one, pretending not to be. You're all Gurus, pretending not to be. You're all God, pretending not to be. When you're ready to stop pretending, then you're ready to just be the real you. That's your home.
I am a street performer as much as I am a stage performer. Yes, I have a television show, but every trick, every 'Mindfreak' you see, I can do live.
When I do an impression of someone or when I am pretending to be someone else, something freaky happens: I feel the person I am mimicking behind my eyeballs. Their head is sitting perfectly inside mine, helping me project a false self out on to the world. And it's not always a choice.
Marlon once said to me about being an actor: Can you imagine going to work every day and pretending to be someone else?
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.
People are always pleased to indulge their religiosity when it allows them to stand in judgment of someone else, licenses them to feel superior to someone else, tells them they are more righteous than someone else. They are less enthusiastic when religiosity demands that they be compassionate to someone else. That they show charity, service and mercy to everyone else.
Every set has their own personalities and their own quirks. It's funny comparing starring in a show to going in and doing recurring work - there's already a rhythm that's been established, and people know each other so well. It's like being a guest in someone else's home.
Putting somebody else's pants on and pretending to be somebody else is occasionally, as you grow older, horrifying.
A workable and effective way to meet and overcome difficulties is to take on someone else's problems. It is a strange fact but you can often handle two difficulties-your own and somebody else's-better than you can handle your own alone. That truth is based on a subtle law of self-giving or outgoingness whereby you develop a self-strengthening in the process.
But I like the process of putting a show together and the impact that Edinburgh has on me as a performer.
We are actors who show up for work in our sloppy gear, and we've got this extraordinary tailor. It's someone else who's done the design; someone else who's cut the suit; someone else who's measured it. Basically, your job is to just wear it.
Each show is a very honest portrayal of how I'm feeling that night. It can go off in any direction. The show is different every night, and that makes it much more exciting. Every evening is unique.
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