Volleyball is one of the most interactive games going. It is a game of intuition, imagination, improvisation - but most of all, of reciprocity - of teamwork. There is no way to free-lance in volleyball.
I hope it might help players have confidence in our own ways, and not to be afraid of them, as Bernstein showed - things like hoe-downs, fiddle songs, and the art of improvisation, and the New Orleans funeral tradition, and call-and-response church singing, and the fact that the blues run through everything. And in our relationship to European music, in that we don't have to imitate it, it's a part of us, inseparable.
In a certain sense, aspects of my solo playing were developed in order to test the theory about how long particular elements could be, as parts of so-called free improvisations.
I may be prejudiced, but I believe that jazz music has the strongest healing potential, and it's not just because I play it and love it so much. I feel that it's the improvisation in jazz that makes it so strong as a healing tool, what each individual gives to a tune from their heart and their soul when they take a solo. It's all spontaneous, and it's all love, and from the heart.
Well David "Fathead" Newman was my first experience with improvisation. When I saw him play for the first time I realized that there is an importance of spontaneous music being made on the spot. It was so soulful and singing through his horn. So that's how I was inspired early on.
I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.
I know all about improvisation and the free-form that mirrors the chaos of our time, but I do like to feel that the playwright has done some work before I got there.
I’m going to break one of the rules of the trade here. I’m going to tell you some of the secrets of improvisation. Just remember—it’s always a good idea to follow the directions exactly the first time you try a recipe. But from then on, you’re on your own.
I think that music, or at least the kind of music that I make, benefits greatly from improvisation.
When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. "I can't do this," I said. "I don't know what to say." "Say anything," he said. "You can't make a mistake when you improvise." "What if I mess it up? What if I screw up the rhythm?" "You can't," he said. "It's like drumming. If you miss a beat, you create another." In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life.
I'm very interested in the improvisation because one of the things I do is to help train scientists to communicate in a better way and more personal way when they're making a presentation, and I use improvisation to do that.
I grew up in the theater, and you can't improvise Shakespeare and Ibsen. You have to speak the language. But obviously, in a contemporary film, there's often room for improvisation and spontaneous things that happen. As long as I know what I'm trying to achieve in the scene, and when something comes up, I know that the response is genuine, I'm comfortable. That's really how I build everything.
Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.
My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.
To sing a song is like whispering to a child's ear. It is an art heavily relying on improvisation.
If you go back to the roots of jazz, it was all about COLLECTIVE improvisation.
If you just want to be a writer, I don't care, for pitching, for writing dialogue, you should take an improvisation class. It's super important.
I feel that Jazz improvisation is the ultimate. You have to create on the spot, the essence of this music.
Actor training should be broadly humanistic, involving the study not just of dramatic literature and theatre history, but of languages, literature, and history generally, and should be centered on acting in plays rather than just exercises, improvisations, monologues, or even scenes.
Jazz is improvisation and syncopation, with resilience and flow, with earthy elegance, nuance and subtlety, with the integrity of individual expression within (usually) a group context, with true democracy in action.
The shortest feedback loop I can think of is doing improvisation in front of an audience.
Improvisation is the essence of good talk. Heaven defend us from the talker who doles out things prepared for us; but let heaven not less defend us from the beautiful spontaneous writer who puts his trust in the inspiration of the moment.
I've always been into improvisation.
Most of my favourite moments in film have been when I've had an opportunity to say something from scratch, something original, whether I jotted down a few lines or it came out in improvisation.
With Sleater-Kinney, we did a lot of improvisation in our live shows, and even our process of songwriting involved bringing in disparate parts and putting them together to form something cohesive.
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