Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.
I really love watching the 70s live performance TV series "The Midnight Special" and "The Old Grey Whistle Test". Those are the best performances you've ever seen, and they sound incredible.
Miss Havisham is an important feminine literary figure in the tradition of Antigone (though it's significant that Antigone is fighting to bury something and Miss Havisham refuses, as it were, to bury the corpse). Like Hamlet, she's focused on what everyone would rather not know or would like to forget, and she seems crazy / stuck as well as bitter, but she's also a perfect prototype of a performance artist. She's intentionally hard to deal with inviting the audience to remain with the violated body, the evidence of violence.
I was bored to death and thinking more about the minibar and the after-show party than the performance.
I remember you would record a guitar part, and we would have to sit there for 15 or 20 minutes waiting for the computer to process it. You'd see the little wheel spinning on the computer, and you'd be praying that the hard drive didn't crash and you didn't lose the performance.
There is indeed a level of improvisation where we can distort and shuffle the music patterns, samples, and loops in each phase of the show within fixed cue points, but at the same time there is a constant result that we are trying to achieve each night while performing and operating our system - quite similar in spirit to a broadway show for example: If you go see a musical two nights in a row, the performances are different yet similar.
It's a lot easier to say you're a comic than a performance artist.
I think one of the biggest things that's changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We're getting closer and closer to an artist performance.
There's something strange about a laptop, how you can make the tiniest gesture and make the biggest sound. I don't feel I've resolved working a sense of performance into a piece yet.
My style of performance poetry came from the beatniks, Allen Ginsberg.
When parents have college savings accounts for their kids, their kids show higher social and cognitive performance.
We will prosper or suffer in controlled investments in relation to the operating performances of our businesses - we will not attempt to profit by playing various games in the securities markets.
My family traveled with a whole community to European festivals. My mum did gymnastics, freak show performances, and swung fire in the circus, so I followed her footsteps.
Anne Hathaway you gave a stunning performance in "Les Miserables." I have not seen someone so totally alone and abandoned like that since you were onstage with James Franco at the Oscars.
You must create the character's internal life. What do I mean by internal life? I mean the thoughts, feelings, memories, and inner decisions that may not be spoken. When we look into the eyes of actors giving fully realized performances, we can see them thinking. We're interested in what they're experiencing that may never be spoken, that quality of nonverbal expression - which is as much a part of the characters as breathing and as real as what they say and do. This is their internal life. It helps us believe in the characters and care about them.
The feelings of being in the audience and being on the podium are very far apart. When you're onstage and something goes wrong, you can do something about it. In the audience, you just have to sit there, and if it's a disastrous performance, I'm the one that gets blamed.
People have thought that some of my writing and lines are done by a machine. I'm able to move in a way that's part gestural dance performance, and it's fun for me, so I incorporate that into the painting.
You can teach a bear to tango on a barrel but his enthusiasm and performance are limited and brief.
When I'm preforming a lot I'm aching to get back in the studio but I love live performance. I love trying to think on my feet and be spontaneous. I like doing that in a live show and I do the same thing in the studio.
Fixable but unfixed bad performance is bad character and tends to create more of itself, causing more damage to the excuse giver with each tolerated instance.
Every time you watch a performance in the theatre, you know that this is just for you, and will never be the same again. It is quite exciting for me.
It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.
I think it's one of those things about live performance - anything goes, anything can happen, and you have to just be ready and able to roll with the punches.
Fun is only real and sustainable if it feeds off the team's purpose and performance aspirations.
Overcoming barriers to performance is how groups become teams.
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