I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
Performing on stage is what I've done since I was a kid and it's where the passion that has started from the very beginning for me, and that's what I'm going to enjoy.
When I was a kid of six or seven, I used to get up on the stove woodpile for a stage and I'd put on the wildest show.
Some bands blow it before they even play. The most important moment of any show is when a band walks out with the red amp lights glowing, the flashlight that shows each performer the way to his spot on the stage. It's crucial not to blow it. It sets the tempo of the show; it affects everyone's perception of the band.
To really be on stage and not know what you're going to say, and to be able to say something that makes people laugh, or do something that's sort of abstract or off the beaten path and have people connect to it by just putting your ideas together, that really makes me happy.
On the last drafts, I focus on the words themselves, including the rub of vowels and consonants, stressed and unstressed syllables. Yet even at this stage I'm often surprised. A different ending or a new character shows up and I'm back to where I began, letting the story happen, just trying to stay out of the way.
My own perception is that there are two tiers of countries, one, the original ASEAN, and then the new members. The new members are in various stages of development.
Hiphop has remained in an infantile stage and has not been allowed to grow.
I think all tennis players have to struggle through the early stages of their career. We start off playing tournaments and really just get by. I always had a dream to play in the big tournaments and never have doubted if it was worth it. Having to battle a little early on in my career makes it all the more worthwhile now.
I spent so many years of my life as a stage actor and when you do all these plays, a lot of really great plays are very politically driven. They deal with deep social issues, and that's the kind of stuff that I love, as an audience member.
There is no one who's gonna be sitting on that stage who has the record of job creation I have. There's one in particular who's created jobs all around the world. While he was the governor of Massachusetts he didn't create many jobs.
I don't think that Mitt Romney can legitimately say that he learned anything about how to create jobs in the LBO (leveraged buyout) business. The LBO business is about how to strip cash out of old, long-in-the-tooth companies and how to make short-term profits. All the jobs that he talks about came from Staples. That was a very early venture stage deal. That, you know they got out of long before it got to its current size.
The teacher will have a certain imprint, and each teacher imprints differently. Ultimately the imprint of the teacher is a limitation that you will have to overcome in your final stages of knowledge.
SDC has a great reputation for putting live music on stage.
Even when I became the typical shy adolescent, I never minded performing. I felt there was a kind of safety, a protection about being on stage, about losing myself in another character.
I came to Mozambique in 1986, when I first became involved with Teatro Avenida - a theatre company that stages plays concerned with political and social issues.
I love Robert Fripp. You know what I really appreciate about Robert Fripp? He always dresses appropriately for the occasion. When he's on stage, he's a Dapper Dan.
The problem is not simply that the Singularity represents the passing of humankind from center stage, but that it contradicts our most deeply held notions of being.
I wanted to be a stage actor but I got stuck on television. It took a couple of years to get used to.
From a very young age, I wanted to get up on stage whenever I went to the theatre - the actors just seemed to be having so much fun. One of my worries about theatre, in fact, is that the actors are quite often having more fun than the audience.
As a writer, I am not goddess of the universes I create. I am at most a stage manager of the plentiful gifts which tumble out of the horn of plenty, which is to say there is a source so sweet and forgiving and generous that I pray every day to let that source be my guide.
The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.
When I was ten, I saw 'Grease' on stage and thought: 'I want to be part of that; it looks like so much fun.' My mum enrolled me in a local theatre group, and it all went from there.
I have stage combat training from college, which is drastically different than fighting for the screen, but I do enjoy that kind of stuff.
Usually, there's nothing being thrown toward the stage or at me. Then I feel pretty good about it.
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