A Quote by Tessanne Chin

Own the stage, command the stage, and don't be afraid to be the best you can be. — © Tessanne Chin
Own the stage, command the stage, and don't be afraid to be the best you can be.
The actor doesn't merely command the stage, he seems to own it by divine right.
And from the first moment that I ever walked on stage in front of a darkened auditorium with a couple of hundred people sitting there, I was never afraid, I was never fearful, I didn't suffer from stage fright, because I felt so safe on that stage. I wasn't Patrick Stewart, I wasn't in the environment that frightened me, I was pretending to be someone else, and I liked the other people I pretended to be. So I felt nothing but security for being on stage. And I think that's what drew me to this strange job of playing make-believe.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
The computer programmer is a creator of universes for which he alone is the lawgiver. No playwright, no stage director, no emperor, however powerful, has ever exercised such absolute authority to arrange a stage or field of battle and to command such unswervingly dutiful actors or troops.
Morality is a venereal disease. Its primary stage is called virtue; its secondary stage, boredom; its tertiary stage, syphilis.
Each department of knowledge passes through three stages. The theoretic stage; the theological stage and the metaphysical or abstract stage.
People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
The normative theoretical claim that a higher stage is philosophically a better stage is one necessary part of a psychological explanation of sequential stage movement.
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."
The stage floor was a stage of thin ice for me to tread. To hold my own or to sink through and die, never to be remembered.
On stage I'm slightly nervous than when I'm in front of camera. Because when on the stage, the mind can't waiver but at the same time, the energy to be on the stage makes me feel alive.
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.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
For me, someone like the Eddie Murphy character doesn't live anywhere; he lives on a stage and when he's not on the stage he's on a bus getting to the next stage. You don't really want to see him at home, or all those things you can do in the movie.
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.
I realized that I needed to be anonymous on the street and somebody else on the stage. I had tried to put my street self on the stage, but what they want is an actor on stage.
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