Top 1200 Stage Performance Quotes & Sayings - Page 4

What you have to remember, when you get to the level of seeing 10,000 people a night, is that they've all paid to have a performance. I need to make sure that they get their money's worth. I don't want to be going on stage and saying, "I'm just going to try some stuff and if it doesn't work, it doesn't matter," because it does matter.

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.

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."

In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.

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.

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

Early in my career, I had difficulty breathing during workouts and my performance on the ice suffered. It wasn't until I was diagnosed with EIB and received the proper treatment that I was able to reach my peak performance.

Some nights you might go through an entire performance and not feel a thing, and the audience may have a much better time, 'cause if you're enjoying yourself on stage too much, they're having a terrible time because they can't hear you. And if you're a woman your mascara's running.

I'm very vain about my performance. I want to give as honest a performance as I can. But I'm not so worried about being regarded as beautiful when I'm playing a character.

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.

I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.

I had decided to be a magician well before I decided to be a writer. I was the little boy who would get up on-stage and do magic wearing a fake mustache, which would fall off during the performance. I'm still trying to perform those tricks. Now I do it with writing.

I know the focus on my performance or the team's performance is on the pitch. We've got to do what we have to do on the pitch. What comes with it off, it doesn't bother me too much.

I think, first of all, I'm very proud of Sam Saunders in general. I am happy to see him playing well and his performance has been good. He is coming on as I hoped he would at this stage of his life.He is a fine young man as well as a fine golfer. He is doing things the right way.

A director really doesn't deal with performance that much, especially if you deal with great actors. Their work is the performance. What you're helping them with is all the stuff they cannot be in control of.

I love theater work because of the immediate effect your performance has on the audience. And I love the repetition, I love getting on the same stage for more than a month and reciting the same lines, trying to make a small or large step towards an improvement in my acting.

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

I think the thing that I think about the most when I consider my father's philosophies is attaining that third stage of performance where you no longer have to think about what you're doing; you've worked long and hard enough to be able to have your body respond when you want it without your mind getting in the way.

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.

My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.

I love showing up and giving a performance without the benefit of a lot of rehearsal or dissection. It's fun to me to act on a kind of instinctual level and go straight for the performance.

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.

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 if the right script comes along, and I certainly am reading comedies and dramas now, then I'm ready willing and able to give it a shot.

Most corporations have human-resources processes that involve discussions with your manager, performance evaluations, calibrations for performance and potential succession planning.

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 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 had this totally impossible dream of being an actress. Trust me, just because I'm lucky enough to be doing this doesn't make any of this less of a pipe dream. And nothing gets my juices flowing like a really great performance. To see someone on stage, I get really excited.

I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.

I made my performance debut in New York City downtown on the Lower East Side in college doing awkward performance art as a go-go dancer at Lady Starlight's Party. And I never thought that my love for mediocre performance art and bad mime would ever come to use in my career as an actor. But my fantasies came true and I got to play Maureen in Rent.

When you are acting in a film, you have no idea what scene the editor is going to choose. For instance, after you have directed, you feel more comfortable delivering a performance. Because you know the real performance is put together in the editing room.

I love theater work because of the immediate effect your performance has on the audience. And I love the repetition; I love getting on the same stage for more than a month and reciting the same lines, trying to make a small or large step towards an improvement in my acting.

I have been doing this since I was nine years old. So whatever the role is, I am going to do the best I can do. The only thing I am concerned with is stepping on the stage in front of that camera and giving the best performance I know I can give, day in and day out as an actor.

It's always weird when it comes to awards and awards season because how can you say that this performance is better than this performance? Art is so subjective.

I would be doomed if I didn't invent humor in my life. When I was young, I had all these punk and performance-art bands, dressed in costumes and painting the room and getting kicked out by police. Now when I perform I still feel the stage is more than just where you put your instruments. It's where you can do whatever you feel like.

Television is very instant. Theatre is much more free, but you are very much on your own up there on stage and in control of your own performance.

Marriage was created not to be a background but to need one. Mine is going to be outstanding. It can't, shan't be the setting - it's going to be the performance, the lively, lovely, glamorous performance, and the world shall be the scenery.

It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.

It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!

Assessments should compare the performance of students to a set of expectations, never to the performance of other students.

My name is not really a common one, but people always tend to mix it up, which is quite embarrassing! As there have been incidents where I would be all ready to go on stage for my performance, and the host would say, 'Ladies and gentlemen please welcome Mr Rithik.' And, I would have to remind them that it isn't Rithik but Rithvik!

When product performance outstrips the ability of customers to use that performance in an industry, the competitive game changes. Under those circumstances you have to decouple components businesses from assembly businesses.

I used to think I needed to have drama at all times, or I wouldn't have the fuel for the performance. Now I know that's not true. That doesn't mean I don't feel it, but I recognize it when I do and put the brakes on. And if the performance isn't what it might have been once, I've learned not to judge myself as much.

The first and perhaps the most important requirement for a successful writing performance - and writing is a performance, like singing an aria or dancing a jig - is to understand the nature of the occasion.

If your in business your in show business. The moment you get to work your on stage. Give your performance of your life.

In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.

This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.

If you're going to be hosting any event or a performance or having dinner with people after a performance, it is work, but it's also social: food and a glass of wine would be involved often.

I just try to touch people's hearts in a way through skating, so they're not just witnessing a performance, they're feeling a performance and they're a part of it.

If we observe the performance of only those funds that remain active, we will tend to find that the average performance of the surviving funds exceeds that of the market.

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.

Some of Jimmy Stewart's performance in 'It's A Wonderful Life' is some of the most disturbing performance he ever did, when he falls apart and when he breaks down.

If I look at the performance of another friend Sting, whenever I hear him take over a stage and share his art with millions, it's very inspiring to me. So I have a lot in my life, a lot of friends who inspire me and I'm sure it goes the other way around, or so that I inspire them.

The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.

When you see a comedian on stage, the best comedians make it feel like a conversation. But it's not. We have very little interest in what an audience has to say during a performance. Being a stand-up comedian, you're an egomaniac to some degree. Everyone wants to hear what you have to say, apparently. That's not how real relationships work.

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.

The thing that I don't like is the selfie when people turn their back to the stage. I'm playing my heart out, I put everything that I have into my performance. If someone turns their back to me like a zoo animal... that drives me absolutely bananas.

I guess my performance at school was doing school musicals, so I was a knight as well at the back of the stage in Camelot. It was all those kind of things. It wasn't the stuff that I wanted to do. The real funny character stuff came out when I was in control of it myself and writing it myself.

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.

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.