A Quote by Steven Wright
My act is an exaggeration of a part of me. I'm much more expressive off stage.
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In my own mind, we are a much happier and much more functional family and a much more well balanced group of individual s both off and on the stage - in the current incarnation.
When you first start out in stand-up and, probably, as any performer, you enjoy the attention so much, and even though that hasn't died down on stage, it certainly has satiated whatever was in me that was needing that much attention. When I'm off stage, it's not something that I really need.
I'm like an old vaudeville act. They'll have to pull me off the stage with a hook.
[My father] taught me (at least he showed me) a dignified way to be a former president is that once you're off the stage, you're off the stage.
Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part.
In contemporary music, the challenge for me is to make the recorder sound as naturally expressive as, for example, the violin - without doing it too much and forcing the instrument. It is very easy to be overly expressive on the recorder, and finding the balance is quite difficult.
There was always, along the way in my career, as more and more I made marijuana a part of my act and my life, the more I'd hear from people saying, like, well, part of the reason that everybody likes it so much is because of the excitement of it not being legal. I always thought that was silly. Especially when it comes to smoking marijuana. People are certainly not less interested in it now that it's legal. In terms of comedy, it has kind of shifted a little bit in that it seems like the novelty has sort of worn off a little bit.
I have modes, mental modes that I get in, and when I'm on the road, I focus very much on doing the work. On playing the show, on being good every night. And part of me just gets switched off. The part that's very private and very personal and very intimate. That especially, that part of me gets shut off.
I'd get more applause than some because I was just seventeen. If they didn't clap at the end of my act I would limp off stage and boy would they feel guilty. They would all burst into tremendous applause as they saw this poor cripple kid walking off.
An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
Old age, believe me, is a good and pleasant time. It is true that you are quietly shouldered off the stage, but then you are given such a comfortable front seat as spectator, and if you have really played your part you are more content to sit down and watch.
The talking shows allow me to come out of my cave and that's why those shows go on for so long. I hate walking off stage. Sometimes I walk off and I miss them as I'm walking off the stage. I wonder if they'll let me go another hour. That's why I do it: to communicate, to get points across.
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.
For me and my drag, I think camp is about exaggeration and artifice and the celebration of superficiality. A lot of my fans look up to me as a figure of femininity but that's all artifice. That's all fake and that's campy within itself, and so that's what resonates to me: the seriousness and the funniness and the artifice and the exaggeration.
For me, working on stage is much more exhausting than all the other mediums, but it's also much more thrilling.
I'm very quiet off stage. I think I'm a pretty boring person. I'm not super talkative; I spend a lot of my time running and zoning out. I spend so much time trying to write jokes and 'be on,' so when I'm finally off stage, I just want to sit.
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