There's a big difference in doing a play or doing any project that not a lot of people see and then a project that you know everyone will see. There is more pressure, performance anxiety per se. And then when you do and what you love is really put to test.
On stage you never watch yourself. You just experience it, and then you go home, and you feel pretty good if you gave a pretty good performance or crappy if you didn't. But in TV and film, you actually have to experience it while you're doing it, and then you have to watch it. And then when you're watching it, you watch it with a different sensibility than how you experienced it.
When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
I believe the time will come when the whole definition of pop music will change. It will get to the point where a song will not be a good song until it has a high level of creativity in writing and performance. In other words, in order to be popular, songs will have to meet these high standards.
There are all kinds of things that can be done. You can change rhythms, you can change chords, you can change whole concepts. But it will only work, on a record or in a performance, if you can make the people buy it.
All of my works are performance pieces, as is true for many writers of color, writers who have indigenous roots - because our basis is spoken word.
Men are enforced into a kind of silence about their gender; they're supposed to not think of it as a performance. That's the definition of manliness - that it's not a performance; it's being yourself, authentic. Whereas women have understood gender as performance. Men have not yet made that quantum leap, or rather they're making it in many ways, they're not thinking about it.
The Clinton machine is so closely and irrevocably tied to the media organizations that she is given the questions and answers in advance of her debate performance with Bernie Sanders.
The importance of music extends well beyond its performance.
After rehearsals or a performance, you're wired and tired and it takes a while to calm down.
Sometimes you write passages that don't need to be rewritten. Performance is that for me. Improvisation, things that happen in the moment, are sometimes wonderful, or wonderful as a moment to be shared between performer and people, but that's it. There might be a strong bond between you and the people, a transformative night, but as a live record it might not translate.
It was amazing how much rehearsal helped with the performance - it was almost a theatrical approach to filmmaking.
[In "The Invisible Woman"] was a different type of performance which was less driven by improv. You always want moments of freshness and newness, but there was less so than I've done before.
When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.
Brasil used to have - and still has, in some ways - a strong culture of showing off. And that's not only in sneakers and streetwear. People like to show how much their sneakers cost, usually by rocking performance models with visible technology, like Nike Shox, adidas Springblade and ASICS Noosa. It's like a status symbol for someone that wants to show to the world they "succeeded in life," no matter how rich they actually are.
Right now anything made for the iPad is like performance art. I'm not interested in performance art. Comics are too hard to make to be done for such a passing blip. When it stabilizes, I'll look at it.
I admire companies that have a purpose, passion, and performance. I am a fan of Unilever under its CEO Paul Polman, not only for the company's insights into women and men when they buy beauty products or skin products (the DOVE woman, the AXE man), but also as a company seeking to achieve both growth and practicing social responsibility.
Walk down Forest Ave to Joey's Pizza like we used to do after performances, which doesn't exist anymore. We had a sense of community [in the school band].
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 someone says to me, do you do stand-up I say absolutely not. I like to think of it as a theatrical performance. With me the show changes maybe five to ten percent every night. Of course, whatever I see in front of me and sometimes I get on a little run about it and it changes the show. And my delivery is such that people who have seen me many times say Gee, I never heard that before. Actually, they have, but I might have changed it around.
The idea of social performance, that we're always performing identities, is something I got fairly obsessed with. I think it's probably because I am a person who went to 15 different elementary and middle schools. I moved all the time, often having to run out in the middle of the night because my mom couldn't pay the bills. There were schools where I'd be the poor loser kid. There were schools where I'd suddenly be the smart kid or the cool kid, although that was very seldom.
People ask, 'Why would you cast yourself in your movie?' And, for me, it's more like an achievement that I am now not playing all the parts, you know? Like I was for so long, in all my performances and a lot of my short movies. So, that's where I'm coming from, not out of a kind of actress-y sense of myself. I mean, I don't really see myself as an actress, but more from performance: this is how you make something. You do it yourself. You're in it and you write it. I think I keep doing it that way, 'cause it's my way. It's what makes me feel like I know how to do it.
A great song can come from anybody. A great performance can come from anybody. It doesn't matter who you are, and that's truly what I believe.
The hunting season is sacred. It's been sacred in my life since birth. I've never missed a hunting season in 64 years. It's my calling, it's what I am, it's how I was designed, it's what inspires, fascinates, satisfies, and drives my quality of life. And I know that it brings me such joy, and it does such a critical and essential performance for nature and for the environment, that I am dedicated and have been for over 40 years to promoting and celebrating that. I never defend it. I always promote and celebrate it.
The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.
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