A Quote by Agatha Christie
Does the real thing ever have the perfection of a stage performance?
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Perfection does not come from belief or faith. Talk does not count for anything. Parrots can do that. Perfection comes through the disinterested performance of action.
Wrestling is different to me. As I talk to other wrestlers, wrestling seems a little different to me than it does to a lot of them. To me, it's about an artistic performance and about honing my artistic performance in pursuit of these minute moments of perfection. These little encapsulations. And none of them are ever perfect.
I liked the idea of a self-contained, endless pursuit of perfection. But I have a problem with perfection. I don't think perfection is very artful. But there's something I liked about the image of a skater going in this endless twisted circle that doesn't have any real endpoint. So the object is not to stop or arrive anywhere; it's just to make this thing as beautiful as they can.
The performance on the stage has its reasons in the performance induced in thousands of separate minds and this second performance is no less prodigious than the first.
To this day, to this very day, except for television, I've never had a writer. Anything I've ever done on the stage, happened on the stage and I developed it from there. It started doing impressions and jokes - which I did very poorly. To this day I can't tell a joke. That sounds nuts, but it's true. I exaggerate it and it becomes a joke. Everything I've ever done I've done out on the stage and it became a performance over many many years.
Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.
My first ever stage performance was in Edinburgh in 1960.
It's a controlling thing on stage - you're directing the action, getting people to play their role. In real life, I take being kind and nice seriously, so the last thing I'd ever want to be is that weird, controlling, manipulative character.
I used to do a lot of pratfalls on stage. And I tell you, when a guy with cerebral palsy falls down on stage on purpose - nobody ever knows if it was real or not.
You should make an effort on stage because it's a performance. The stage should be glittery and camp, but I don't go down the shops in full stage gear.
The thing that's characteristic of my performance is that I literally do drag the whole studio onto the stage.
Nobody wants to do it - not real change, not soul change, not the painful molecular change required to truly become who you need to be. Nobody ever does real transformation for fun. Nobody ever does it on a dare. You do it only when your back is so far against the wall that you have no choice anymore.
Opportunity does not need to be exactly equal. It needs only to exist. For the talented and motivated, that will be enough...The vital thing is not to maximize everyone's performance, but to ensure maximal performance from the most talented, the ones who can make a difference.
If you're an actor, a real actor, you've got to be on the stage. But you mustn't go on the stage unless it's absolutely the only thing you can do.
To be a performance artist, you have to hate theatre. Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
I had a high school girlfriend whose mother gave us theater tickets, so I saw the second night performance of 'A Streetcar Named Desire.' My girl and I could not get up during intermission, we were so stunned. To this day it's the only thing I've seen on stage that's 100 percent real and 100 percent poetic simultaneously.
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