I feel that the work that I have done in the comedy arena, is priceless in terms of what I learned, timing, everything that these incredibly talented performers were generous enough in teaching me.
Canadians send us great hockey players. You also send us wonderful performers, from the beginning, with Mary Pickford.
That is the godawful thing about television today. Performers don't have any place to hit and miss. You're either in or you're out; you don't have a chance to become good at your craft. If you make three pictures in a row and they don't go over, you're out of the business.
Performers like Tommy Cooper, who are always getting things wrong, are much more endearing than comedians who are sassy and smart.
All the persons of faith I know are sinners, doubters, uneven performers. We are secure not because we are sure of ourselves but because we trust that God is sure of us.
When I'm taking my last breath, I want to look at how I used up the best of myself. How much did I sweat, push, pull, rip, fall, hit, crash, explode?...My dream is to be so well-used that in my last-half second, I just burst into dust.
The feeling you get from playing to a good audience is hard to describe without sounding as though you are talking silly. But reaction is important. You might feel in yourself that you're doing it ok but it's when you get the live reaction that you know you're doing it right.
The terror of performing never goes away. Instead, you get very, very comfortable being terrified.
Too many people spend money they haven't earned to buy things they don't want to impress people they don't like.
Dancing insists we take up space, and though it has no set direction, we go there together. Dance is dangerous, joyous, sexual, holy, disruptive, and contagious and it breaks the rules. It can happen anywhere, at anytime, with anyone and everyone, and it's free. Dance joins us and pushes us to go further and that is why it's at the center of ONE BILLION RISING.
Having the presence of mind to react to any situation onstage is what makes the best performers keep their spontaneity intact.
Because I'm a performer I can justify and sometimes sell the things about me that offend and shock the conventional world. I need to live life in the fast lane. I need to do things to excess. I need to go over the edge. I have an obligation to experience the things most people can't experience. The taboos. The things you're not supposed to know or do. That's part of my job. That's why I do it. I would probably do it anyway.
Dave Chappelle is about as gifted as it gets, as a performer and comedian. [...] It's always great to watch him work. He started around fourteen and he's in his forties now, so he's probably been doing it for close to thirty years. He's brilliant.
When the theater is gothic it matches the sensibility of the show. It's also very intimate. The audience is very close to the performers. The show is scary and the scary stuff always works best with an intimacy with the audience. And the show is erotic, and I think erotic always works best when it's close to the audience, as well.
Classical virtuosity is more than technique, line, proportion, and balance. It is as if the performer and spectator come together to hold in their hands a bird with a broken wing. The creature can be felt to stir, to struggle for freedom. Its life responds to human warmth; its wing might brush your check as it flies away.
I'm interested in confronting police brutality and police abuse of cracking down on street performers and street artists, but also in valorizing street art as legitimate performance within the artistic sphere, where it's so often conflated with pan-handling and begging and not "successful" art. I want to change laws around street performance.
Talking about my personal life onstage, I've realized I'm not one of those comics who can do that. I can allude to it but I don't want to be a confessional performer.
Elvis is iconic; a lot of performers today look to that for inspiration.
I always was a performer, from the time I was little. It was always a natural place for me to be.
I don't like when performers rag on their ex-girlfriend or ex-boyfriend in absentia. If they're not there, it just feels rude... I'm never going to say anything personal about myself on stage. That's my new goal.
I can get onstage and cut that off and be superinstinctive. To be a good live performer, you have to be instinctive. It's like, to walk in the jungle, or to do anything where there's a certain tightrope wire aspect you need to be instinctive. And you have to be comfortable at it also.
The music's rehearsed a lot. All people think about is, they think, in rock 'n' roll, they get the music off right and they think it's okay standing, looking macho. Well, it's not. That's boring. If you want to be a performer you've got to do a lot more work than that.
All the things that are negative in me as a person - the incompetence and despair and weakness and pain - are like a gift from God in a performer. If you don't hide them and if you stop lying to yourself about what you are and are not, there is a ring or a tent or a stage where you can take them and use them to make something beautiful.
The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.
The proliferation of new music groups and individual performers focusing on new music today is heartening. On the one hand the culture is very resistant to new things, and yet it continues to change and grow.
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