Top 1200 Stage Managers Quotes & Sayings - Page 2

There is no definitive list of the duties of a stage manager that is applicable to all theaters and staging environments. Regardless of specific duties, however, the stage manager is the individual who accepts responsibility for the smooth running of rehearsals and performances, on stage and backstage.

According to Buddhist practice, there are three stages or steps. The initial stage is to reduce attachment towards life. The second stage is the elimination of desire and attachment to this samsara. Then in the third stage, self-cherishing is eliminated

The whole concept of stage fright is fascinating. Actors get stage fright, but they wouldn't be on the stage in the first place if they just succumbed to it. There's this love/hate relationship with the spotlight.

Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.

I'm a stage actor. You know, I was - I cut my teeth on stage, you know. So I've always had a love affair with the stage, first off, what I was raised in, you know.

Congratulations offer more potential than cash. The amount of available cash is limited, but managers have an unlimited supply of congratulations. It's important to pay people fairly, but managers also should heap on congratulations and feed people's souls.

Look to the Premier League. Are there any black managers? Look at the Italian league? Are there any black managers? The list goes on.

I would hope that American managers-indeed, managers worldwide-continue to appreciate what I have been saying almost from day one: that management is so much more than exercising rank and privilege, that it is much more than "making deals." Management affects people and their lives.

That's the thing about stage: It's something you can't find anywhere else. It's a two-and-a-half, three-hour experience, and it's a real relationship. You're sending out energy from the stage, but the audience is giving you back so much also, so that's also lifting you and pushing you forward as you're performing and giving you so much energy. You can't find it anywhere else, and that's why people get addicted to being on stage, and when they're not on stage are kind of looking for that and constantly searching for it.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.

There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.

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.

In my career, I've had kind of a strange trajectory as an actor. I started out doing movies and theater and stuff, but then I had a terrible problem with stage fright as an actor on stage, and I quit stage acting for a long, long time.

If you want to do standup, you have to go on stage. That's the only way to get good - stage times.

I was a stage dad. When I was with Earth, Wind and Fire, I was their stage dad - the O'Jays, I was the stage dad.

When you're on-stage, you're expected to perform in the bar business. You shake hands. You smile. You're all positive energy: you add to your environment. When you walk in the door to the back of the house, that's like a stage door. You're off-stage now.

Managers used to say, 'I have a gut feeling.' Do you know what a gut feeling is for a professional manager? It's a pattern that they recognize. But if your system can recognize that pattern, if it's not just a couple of managers who know that pattern, then the system's gut feeling can tell you which way to go. That's really liberating.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'

When you go through a tunnel - you're going on a train - you go through a tunnel, the tunnel is dark, but you're still going forward. Just remember that. But if you're not going to get up on stage for one night because you're discouraged or something, then the train is going to stop. Everytime you get up on stage, if it's a long tunnel, it's going to take a lot of times of going on stage before things get bright again. You keep going on stage, you go forward. EVERY night you go on stage.

Managers are responsible for setting workplace policies under which teachers can succeed. Managers are responsible for negotiating contracts that create the conditions under which teachers can succeed.

Once you do a piece on the stage, you become that poem or you become that piece. That's really who you are. I think that's why some artists have stage names, you know? I don't have a stage name, it's pretty much just me.

It has been an honor to paint on stage and have my art grace the albums and stage sets of renowned musicians.

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.

Managers are already voracious consumers of theory. Every time they make a decision or take action, it's based on some theory that leads them to believe that action will lead to the right result. The problem is, most managers aren't aware of the theories they're using, and they often use the wrong theories for the situation.

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.

The important word there is inspire. The key difference between managers and leaders is that managers tell people what to do, while leaders inspire them to do it. Inspiration comes from three things: clarity of one's vision, courage of their conviction and the ability to effectively communicate both of those things.

I was about to walk on stage at the Kansas Speedway - I was playing a NASCAR race - and I said to Scooter Carusoe, who was standing side stage, 'I want to write a song called 'Wanna Be That Song.' Then I put my earphones back in and walked right out on stage.

The lower the rank of managers, the more they know about fewer things. The higher the rank of managers, the less they know about many things.

Just giving the people a great show, leaving it all on the stage. Like when I'm finished I don't want to go home with nothing, I want to leave it all there on the stage, that's what I'm thinking about before I hit the stage.

I suffer greatly from nerves. I have stage-fright badly, and it gets worse, but the stage is still my life.

Insecure managers create complexity. Frightened, nervous managers use thick convoluted planning books and busy slides filled with everything they’ve known since childhood……. They worry that if they’re simple, people will think they’re simple minded. In reality, of course, it’s just the reverse. Clear, tough minded people are the most simple.

According to most philosophers, God in making the world enslaved it. According to Christianity, in making it, He set it free. God had written, not so much a poem, but rather a play; a play he had planned as perfect, but which had necessarily been left to human actors and stage-managers, who had since made a great mess of it.

Congress has all sorts of rules, hedge fund managers, private equity managers, executives, movie stars, fall into that allow them to escape or defer into the future not paying their taxes. And if you can defer your tax into the future, it's the best deal in the world, because you don't just get to eat your cake and have it too. You get to eat your cake and have a bigger cake.

Robinson did not merely play at center stage. He was center stage; and wherever he walked, center stage moved with him.

Steven and I stood on the stage at the Boston Garden after the Stones had just played there and the stage was still up. We had been playing cards, maybe a high-school dance, to 400 or 500, maybe a thousand. We just stood on the stage and thought, 'Well,man,maybe someday.' In 4 years that was OUR stage.

You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.

Managers are not confronted with problems that are independent of each other, but with dynamic situations that consist of complex systems of changing problems that interact with each other. I call such situations messes. Problems are extracted from messes by analysis. Managers do not solve problems, they manage messes.

Give serious thought to why your company should care about your strategy. Specifically, find problems that the board wants to be solved. What are senior managers scared of? Part of becoming a credible strategic thinker is learning effective approaches to selling ideas for your situation. You’ll know that you’re getting better at selling (or pitching) strategy when managers start coming to you when there is strategic thinking to be done.

My apartment is my stage, and my bedroom is my stage - they're just not stages you're allowed to see.

As a mom, what I found so disturbing were the things that were being said on a national stage - I mean, literally on the stage and off the stage, around the convention about women, about minorities, about Muslims, about immigrants.

It's so scary to go on stage. I used to throw up before I went on stage, every time.

That was my original dream, anyway, to be on stage. I think the stage is an actor's place because actors, it belongs to you.

I'm not an angry person, just very disappointed and contemptuous of my fellow humans' choices - and on stage those feelings sometimes are exaggerated for a theatric stage - you're on a stage you have an audience of 2500 or 3000 people: you need to project the feelings, the emotions it's heightened, and people mistake it for a personal anger but it's more dissatisfaction, disappointment and contempt for these things we've settled for.

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.

One might think of investment managers as astronomers and CEOs as astronauts. The two roles are radically different with distinct personality traits. Like astronomers, investment managers tend to be introverted, skeptical, and very analytical. CEOs, like astronauts, are the exact opposite, typically being extroverts, optimists, and, well, leaders.

I have horrible stage fright - you know how you go through the bi-polar stage fright thing? Then you go on drugs to get over the stage fright and perform, but then you're not funny at all.

You have to get past the pleasure stage, until you reach the stage of tears.

Self-dealing, essentially, occurs when managers run companies to line their own pockets instead of those of the companies' owners. It's been a perennial problem in American capitalism and became a real dilemma when America moved toward a model in which corporations would be run by professional managers who had only small ownership stakes.

I always felt there was a chip on my shoulder at the junior stage, the amateur stage.

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.

When you go on a stage, before you go on a stage you're really scared and you're really frightened. You don't know what to do. "Why did I say yes to this?" But once you're on the stage you think, "Okay."

I always say that I've grown little flaps on a stage and I've got these little gills that open, because on the stage I'm in my element and I'm like a fish that's come out when I'm on land, which is filming. I'm never quite as comfortable as I am on the stage.

I've done a lot of stage in my life, but I never had to dominate a stage for three hours.

These two staples of work life - meetings and managers - are actually the greatest causes of work not getting done at the office. In fact, the further away you are from both meetings and managers, the more work gets done.

When a new truth enters the world, the first stage of reaction to it is ridicule, the second stage is violent opposition, and in the third stage, that truth comes to be regarded as self-evident.

Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.

There is what Steve Blank calls the stage where you are searching for a scalable business model. Then, there is the stage when you have found that model and need to scale it. In the former stage you have to have a "beginner's mind," be in learning mode, and expect to learn things you didn't anticipate.

My first love is acting on stage. A sitcom is a hybrid of stage and film.