Top 1200 Live Performance Quotes & Sayings

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 had a really great performance with Steven Tyler in the movie 'Be Cool.' I performed 'Cryin',' so we recorded the song beforehand. But I didn't get to meet him until I hit the stage with him, and we had a live performance with 30,000 people in the audience, and that was for the movie.

No matter what, I will always prefer a live performance. Whether it be a play or a musical, or playing music live. As long as it's live, it's the best because there's sort of an immediacy to connection between an audience and a performer, whereas where you do film or television, you're at the whim of so many different forces.

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.

From the business point of view—not to overstate it—intellectual property is dead; long live intellectual process. Long live service; long live performance.

I think that there is such power with the live performance of it - so much of what 'Motown' is about is the live performance aspect, really. The power of our production is really the music and the performances.

When you are in the studio, you don't have anybody to feed off of; meanwhile, when you are playing live, you interact with people and you feel the energy in the room. When the crowd is going crazy, that definitely impacts your vocal performance. I prefer to sing live.

My preference is live performance, because you get the feedback. There's an energy. It's live theater. That's why I think actors like that.

My first live performance was the lead in 'Peter Pan.'

When I'm preforming a lot I'm aching to get back in the studio but I love live performance. I love trying to think on my feet and be spontaneous. I like doing that in a live show and I do the same thing in the studio.

My preference is live performance. Because you get the feedback. There's an energy. It's live theater. That's why I think actors like that. You know, musicians need it, comedians definitely need it. It doesn't matter what size and what club, whether it's 30 people in the club or 2,000 in a hall or a theater. It's live, it's symbiotic, you need it.

It's impossible to say that live art enjoys any single status in the information age--there are versions of live art that are still primarily art-world phenomena, others that appeal to much broader audiences. The Burning Man festival is a case in point--an event featuring performance that is itself a performance, which partakes simultaneously of frontier mythology, a counter-cultural impulse, and popular cultural visibility.

I like the energy of live performance.

For me, the most important thing is the element of chance that is built into a live performance. The very great drawback of recorded sound is the fact that it is always the same. No matter how wonderful a recording is, I know that I couldn't live with it--even of my own music--with the same nuances forever.

One of the things I love about music is live performance.

There is something about the live performance of an orchestra that makes it very different to a film. With a film, you can rewrite it in a way with the material you have, and in rehearsals, you're really trying out different things. In an orchestra, you can't do that. They separate as soon as the performance factor comes into play.

There's nothing like live performance.

I hate every moment of live performance.

Three languages - the video, the music and the live performance - are awesome to bring together.

I like a performance, a live performance, so I like little mistakes because that's what makes perfect - the mistakes.

The only reason is that I hadn't seen The Modern Jazz Quartet perform live and a live performance is often where the real experience of jazz takes place. I'm not familiar with the Boswell Sisters.

Live theater is an amorphous art, constantly shifting and evolving with every performance.

My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.

Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I grew up loving David Letterman and Pee-wee Herman, but as far as live performance comedy, all I knew were the Jerry Seinfeld-type comedians of the world, and that's what I thought live performance comedy was all about.

I don't think I gave a good enough performance to be nominated for it. I thought I gave a fine performance, but those things are supposed to be about giving an extraordinary performance.

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

No matter what you're doing, whether it's a makeup tutorial or an interview or a lip sync, performance is the essence of drag. It is gender performance. Being able to produce a performance is what a superstar has to do.

I actually acted onstage before I'd ever seen a live performance, and I loved it.

From the business point of view - not to overstate it - intellectual property is dead; long live intellectual process. Long live service; long live performance.

Music films are great, but they can never compete with a live performance. Live music is what it is. It's the whole point. You experience it in the moment.

When it's a live performance, anything can happen.

I've always liked being on the performance end of it. I've come up with different ideas, but as far as being a creative writer, I'm not sure about that. I've always liked the performance end of it and wrestling, getting in the ring in front of a live crowd.

I love watching live shows from different artists from different stages of their lives. I'm always interested in the mastery of the live performance.

Every time I see a live performance of something, I'm like, 'I want to be doing that!'

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.

I love live performance and have huge admiration for people who can really do it. It's the same with music: I'll play a record and think that I'm not really into country or ragga. But, if it's live and the musicians are good, I'll listen to pretty much anything.

My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.

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.

I love live performance, but I am excited to try my hand at whatever comes my way.

I'm much more energetic now; you might say live performance is my mission.

Deconstructing your performance is the curse an actor has to live with. That's why I don't watch my films.

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.

If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.

It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away

It [live performance] is just very difficult. Doing an hour, hour and a half of live standup is an endurance test. You almost have to do it every day to stay up on it.

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

When you have a live performance, you're going to be pitchy here and there, unless you have perfect pitch.

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.

It's easy listening to a record, but a live performance is so personal and real.

For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.

I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.

I like the adrenaline of live performance, whatever that is, appearing in front of an audience of any kind, whether it's one or a hundred or a thousand. It gives you a buzz of adrenaline, its exciting. The thing about that is that you want to make those nerves work for you in terms of an energy that's appropriate for the part and the performance, and not to distract the people who are watching so that they become nervous for you.

My live performance, it just comes from feeling an energy and emotion from the crowd.

To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.

For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.

There is really nothing like seeing a live stage performance.

When we deal in generalities, we shall never succeed. When we deal in specifics, we shall rarely have a failure. When performance is measured, performance improves. When performance is measured and reported, the rate of performance accelerates.

There's something about a live theater performance: You can't fake it.