Great performers in all fields seem immune to what outsiders think about them. Their sense of themselves never depends on the feedback-positive or negative-they get from the environment.
I think part of the bad thing is that skill is emphasized so much that a lot of people, by the time they get to Juilliard, well I think they kind of forget why they got into music in the first place and if they're performers - this is a simplification, but a lot of them are trying to win a competition and play more accurately, or better, or more beautifully, whatever can be measured, than somebody else.
People who are great thinkers, in science or in art, people who are great performers, have to have that kind of capacity. Without that kind of capacity, it's extremely difficult to manage a high level of performance because you're going to get a lot of extraneous material chipping away at the finery of your thinking or the finery of your motor execution.
Try not be resentful or jealous of other people's success. Know that your path as a performer is going to be very different than others. Try your best not to compare.
My advice to aspiring performers is trust your instincts, 9 times out of 10 they are perfect.
I initially told people I wanted to be a dancer and ultimately a "Rockette." I didn't really know what a musical theatre performer was other than the Shirley Temple type.
I love performing in a good straight play as well and I'm a crossover actor, I crossover from plays to musicals, musicals to plays. This is very difficult for performers.
When I decided to pursue a career as a Muppet Performer when I was in college, it was my hope to be able to play a wide range of Muppet characters in all areas and genres of television and film.
I've worked with Emily Skinner and I've seen Linda Balgord's work. I saw Harvey Keitel at the call-backs. But generally I don't know many people. They're not only good performers; they're really good singers! This show is for people who have more of a history in reading music. From what I already know about the ensemble, it's going to be great. And I can't wait to meet the rest of them. They're the real deal.
I've thought about bands or performers who appear from nowhere: You come out of the greenroom in this secure little unit, then you do this thing and you're shielded from everybody. I'm thinking of brilliant people, like Mariah Carey, who have no interaction. They interact with the audience at the time of the live thing but there's no build up and there's no afterward.
If there's one big thing you can take from Amy Poehler as a performer, it's committing, full on.
Khairani Barokka is a writer, spoken-word poet, visual artist and performer whose work has a strong vein of activism, particularly around disability, but also how this intersects with, for example, issues of gender - she's campaigned for reproductive rights in her native Indonesian, and is currently studying for a PhD in disability and visual cultures at Goldsmiths. She's written a feminist, environmentalist, anti-colonialist narrative poem, with tactile artwork and a Braille translation. How could I not publish that?
I like being a musician that's also a fly on the wall. I like people coming in the room and doing what they do and then leaving. I like attention, but it actually gives me a little less to work with as a performer if people are editing themselves and not being them.
When somebody is doing something really funny, in real life and as a performer, my instinct is to join them.
I am used to being on tours with people who are fantastic performers and I respect them and I love their music. But the bottom line is they got the vision for what we are trying to do.
I grew up around fashion - my mom was an editor for Vogue. Compared to the music industry, though, I'd say [fashion] is a little bit more disorganized. But it's exciting for me because, when you're a performer, there is a fashion element.
The irony is that I use computers every day of my life to do music because I edit all of my music in a computer. But when it comes to doing live processing, I prefer, as a performer with an instrument, not just having the computer as the only thing I have. I really prefer and find it much more flexible to have the limitations of pedals.
I was so fortunate to sing and work with so many amazing performers and artists.
I will say, the performers in the musical are some of the most super-talented people I've ever seen.
I've always liked extreme performers; I don't think I am one, but my mentality is in line with that.
In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.
I feel like with our shows it always feels weird to be performers on stage and not engaging in audience interaction in some way - that exchange of energy is very much a part of the sound.
It was at a performance art space that's no longer around, Gusto House... All of these great performers from all over the country lived on the Lower East Side, and they would take somebody's living room that opened right onto the street, open the door and charge tickets and put up chairs.
I sometimes play different kinds of music to see where the performers end up. I play one genre. Then something else when I do it again. It really helps.
I miss my hair, but I feel like going out there with some fake braids wouldn't be right. I want to be the most genuine performer I can be.
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