Top 1200 Stage Performance Quotes & Sayings - Page 2

What I really like seeing from the stage is people having their own moments, when people are doing some performance of their own.

Each department of knowledge passes through three stages. The theoretic stage; the theological stage and the metaphysical or abstract stage.

The on-stage Gracie may look poised, but the real Gracie is shy, a little self-conscious, and, before every performance of my life, panicky.

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'm one of those pathetic actors who will say yes to every play reading just because I do miss the stage so much. What I really miss about the theater is that in the end, it's yours to give. In television and film, it's yours to do and someone else's to take and someone else's to give. As much as I love television - the biggest luxury of all is to know that you have a job to go to - I do miss that connection and having that power over my own performance on stage.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

Stand-up comedy is a different game all together. You have to improvise on the spot if you feel that the audience isn't enjoying your performance. In a movie or serial, you are in a situation while on stage you create a situation.

I definitely loved going on stage, I loved the nervous feeling and the performance and the doing-ness of it. It always felt kind of natural and inevitable and logical.

So what this is is us, our personalities refined down on to a stage performance. In other words, the way we play is the end product of the way we live - we live in the cities, you see.

I think nervousness - a heightened sense of nerves and attention is a very healthy thing for a performer. It is an artificial environment that you are going into whether it's concert or recital, or stage. When I know something so well, I've done it so often, and you kind of walk out for Tuesday night's performance, or you feel like that, that makes me more nervous then being geared up. A little bit like race horses. In the same way that the horses are always difficult to get into that lineup, the worst time of my life is the 10 or 15 minutes before I go on stage.

If you go on stage with the wrong attitude, or something in your performance is off, you can lose an audience in the first minute. That first minute is crucial.

I love being on stage if I'm not on a set. If I'm at home, I'm usually in my office editing or reconstructing my website or whatever it may be. I just love putting creativity into a performance.

So many dancers rely on some sort of magic happening on the stage. They never, for various reasons, work full out in rehearsal. That's very uncreative. They don't discover the kinds of things that add up to a remarkable performance.

Michael Jackson changed the format and history of music. His videos were films. He was the first who floated on the stage and changed the concept of a musical performance. He created something that's still the basis of a lot of what's done today.

I took off the makeup and stashed the crown, and now I was just another young woman out in the world. It's almost dizzying how fast the fame goes away - like a stage that turns dark at the end of a performance.

Failure's hard. There's no way around. Bombing on stage never feels great. You feel judged, you feel alone. But then when your performance works, it's transcendent.

As a coach, your high standards of performance, attention to detail and - above all - how hard you work set the stage for how your players perform.

When I did "Top of the Pops" for the first time, Ace of Base was one of the other bands, and I have a memory of them on a small stage next to me in the TV studio. A memory of their performance is burned into my mind. Seared.

In any performance, you're on stage for two hours, and there's 40 seconds or maybe a whole five minutes where you feel like the whole universe is in place, and you've gone even beyond the universe that you know.

When you go out onto the stage, all the preparation has to be forced into your subconscious. For the moment of the performance, we all have to return to a new level of unconsciousness. All the reflection and all the doubts have to be laid aside before you start.

I see my music as a visual thing. When I'm on stage I am very expressive with my face and through my performance - kind of like an actress but not really, it just rises up from inside with the music.

Reading is performance. The reader--the child under the blanket with a flashlight, the woman at the kitchen table, the man at the library desk--performs the work. The performance is silent. The readers hear the sounds of the words and the beat of the sentences only in their inner ear. Silent drummers on noiseless drums. An amazing performance in an amazing theater.

Going on stage is a performance, it's an act; you're playing a version of yourself. I don't give it a lot of thought. I clock on, I tell jokes, I clock off again.

I love stage actors. There's something special about all people who have to do a performance eight shows a week, and musical people, especially, are so much fun.

Performance or no performance, perceptions do matter. More so the voters's perceptions on the performance of their state governments.

Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance.

No live performance can ever be perfect, and that's what keeps you on your toes - it pushes you to practice harder, show up for that 8 A.M. ballet class, and walk through the stage door every night just to have the chance to do it all again.

My best kiss was on stage. Kelly Rowland from Destiny's Child gave me a really nice soft kiss on my lips during a performance on my birthday. It was amazing.

I'm always happy and most at home on the stage. I love film and television, but I love live performance... your immediacy with the audience, it makes all the difference in the world.

I can tell you there will be a performance centre in India. There will be a performance centre in the Middle East. There will, more than likely, be a performance centre in Latin America. We will be replicating this process around the globe, all over.

I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.

That an author takes a bow is not humility but presumption. What does the paleface want on the stage afterwards? But before the performance he had even less business there--and paying him royalties is equivalent to cheating the actors.

I've never been in a business where safety performance was excellent and the business performance was not, so they go hand in hand, and for me, safety performance is an indication of discipline, of focus and of how joined up an organization is.

Unless an action is rightly thought out and its steps rightly planned, every stage of its performance will probably remain vague and therefore unsatisfactory for the doer and all those concerned.

I didn't really have an act per se - a theatrical performance, as opposed to just: here I am, folks, and you're all supposed to be dead quiet while I sing eight or nine songs, then get off the stage.

Personality is essential. It is in every work of art. When someone walks on stage for a performance and has charisma, everyone is convinced that he has personality. I find that charisma is merely a form of showmanship. Movie stars usually have it. A politician has to have it.

A screen actor is compensated in the knowledge that millions will see his performance at one time, where only hundreds will see it on the stage.

Every medium has its advantages and weaknesses and there are many things I can put down on paper that I might not be able to put into film or into a stage performance. In each form, one can communicate powerfully in different ways.

I was at a community event in Paris a few years ago when a group of young girls came on the stage dressed and dancing in a very risque way. They were only 11 years old, and their performance was shocking.

There are performances in which the people who have the best muscle skills and musical history may be on the stage, but it's not? - ?like a Dead show is not like a usual sit-down performance; the audience does participate.

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.

While I was coaching, I believe the motivation talk I gave my players that achieved the best results was in reference to their present game-day effort. I stressed the fact that today's performance could be the most important of their life. Yesterday's performance was already history. Tomorrow really never comes, so today's performance is what really counts.

I want to say it to so many people, 'why you have to be so serious?' And I also want people to think 'this kid has really gone crazy' when they see my performance on the stage. Luckily, I am able to achieve all of these.

When I perform on stage, you have to remember my performance or buy another ticket to the party! In television and film, you can see it over and over again.

Film taught me an enormous amount about the internal life a performance has to have, and that life has to be real. You can fake it on stage, but not for the camera.

I belong on the stage. I love how the day's events, whatever you read in the newspapers or watch on the TV, are reflected in the performance and how it's received.

I went to London and was excited to make the team, but to be honest, I was a bit dissatisfied with my performance there, and I'd really like to make up for that in Rio and get the best out of myself on the Olympic stage.

I've never been in a business where safety performance was excellent and the business performance was not, so they go hand in hand, and for me, safety performance is an indication of discipline, of focus and of how joined up an organisation is.

I can be completely spontaneous, which is absolutely wonderful. I don't like it at the same time; no one wants to be nervous all the time, but that nervousness mixes with the excitement I feel on the stage, and it makes for a wonderful performance.

I believe that I've grown in my acting career because I've become more confident. I've become less worried about what people think. When I go into a meeting - 'audition', I have a different sense of self when I walk into the room. I'm here to give you my interpretation of your lines. This is my stage; I'm not waiting to be hired by you to be on your stage. We all might die tomorrow, so I'm going to have to live in my gift, today, and give you the best performance in this room, right now, in case this is the last time you get to see me!

People come up to me as I leave the stage after a performance and tell me tey saw my mother onstage with me every time I sing. I keep a sense of humor about it.

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.

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."

I had serious performance stage fright. I kept my singing to the confines of my shower and car, while doing the dishes, and in my basement, but I would burst out crying if anyone asked me to sing.

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.

Traditional performance reviews have passed their sell-by date. Big time. There's research showing that roughly two-thirds of performance appraisals have either no effect - or a negative effect! - on employee performance.

I love performing outside because it's as if the heavens are open and the elements become part of the stage show as well - you know, the wind and the rain and the thunder. It's almost as if there's a sense of invocation in performance.

Like, even in our stage performance, it's vulnerable at certain times, it's sad, it's raging... It's not just about being a sex symbol, or being sexy to appease everyone. I'm not about that.

Morality is a venereal disease. Its primary stage is called virtue; its secondary stage, boredom; its tertiary stage, syphilis.

When I play, I open up. I'm in the heat of the performance and it's a healing thing. It's great! It's like a spiritual elevation that occurs when you're playing and becoming one with the instrument or players on the stage. It takes on this incredible feeling of levitating and the molecules spin differently in the moment.