More than in any other performing arts the lack of respect for acting seems to spring from the fact that every layman considers himself a valid critic.
The world is a complicated place, and there's a lot of division between people. The performing arts tend to unify people in a way nothing else does.
Logic will get you from A to B. Imagination will take you everywhere.
Art is the only way to run away without leaving home.
The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.
Everything around you can use. It's like your tools and your material. Whether it's in performing arts like dance, or visual arts, or poetry, a lot of those elements can come and help you, can trigger your creativity. But you have to be open, be aware, and you have to be ready to look.
I went to the Performing Arts School and studied classical ballet. That attitude is something that's put into your head. You are never thin enough.
I was at college doing performing arts, and just spending all my time mucking about, and the lecturers thought I would be pretty good at stand-up, so I gave it a whirl.
I went to the High School for Performing Arts, and to Howard University on a talent scholarship.
My brother Trev went to the Professional Performing Arts School in New York, and he used to do his monologues and stuff and rehearse in our apartment. So I used to hear him all the time doing these things over and over and over. And when I was a little girl, I used to soak up everything - like anything anyone did, I soaked it up.
For one year I did go to Performing Arts School, and I had very weird friends.
I went to a Canadian college for performing arts and then I auditioned for Canadian Idol. That honestly was my golden ticket.
Dancers, like all performing artists, like nothing better than to be challenged.
In the performing arts you have to have thick, thick, thick skin, because of all the rejection you face on a daily basis, and the fact that work never lasts for very long. But you need thin, thin, thin skin in order to access all of your emotions and your creativity so that you can express it. You can't be dead inside. Otherwise you've got nothing to give. So it's a paradox, that we have to exist in both planes in order to do what we do.
I like to say that I didn't choose acting - acting chose me.
I went to a high school for the performing arts and I lived and breathed music. It kept me focused; it kept me sane.
I love every aspect of the performing arts and can't imagine myself doing anything different. I give my heart to every project.
I think in the end there is one ultimate goal with all my careers, and that is, as a performing artist, you want to explore the deepest, most truthful way to express a point of view, or whatever the character is thinking, or whatever emotion you're trying to convey. I think with the different media it's just about what muscles you use to express that.
Posing is a performing art.
In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things.
That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!' You know? He painted it and that was it.
If I do a lot of television, than I miss theater. If I do a lot of theater, than I miss film. This global thing of performing arts gives me strength.
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
... we performers are monsters. We are a totally different, far-out race of people. I totally and completely admit, with no qualmsat all, my egomania, my selfishness, coupled with a really magnificent voice.
I always was drawn to the performing arts. I started dancing when I was two. I sang, loved to act, and loved going to visit my mom on-set. But she wanted me to have a normal childhood, so I wasn’t really allowed to pursue acting till I got older.
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