Basically this is what you want - a high performance machine that idiots can run.
Music is a performance and needs the audience.
Now things have changed for the better. Our reforms end seniority and tenure so we can hire and fire based on merit and pay based on performance. That means we can put the best and the brightest in our classrooms - and we can keep them there.
I think after music is performance because it is also an immaterial form of art, and then there's everything else.
Welcoming imperfection is the way to accomplish what perfectionism promises but never delivers. It gives us our best performance and genuine acceptance in the family of human -- and by that I mean imperfect -- beings.
[A 2005 response to doping allegations] Unfortunately, the witch hunt continues and tomorrow's article is nothing short of tabloid journalism. The paper even admits in its own article that the science in question here is faulty and that I have no way to defend myself. They state: 'There will therefore be no counter-exam nor regulatory prosecutions, in a strict sense, since defendant's rights cannot be respected.' I will simply restate what I have said many times: I have never taken performance enhancing drugs.
You can teach a bear to tango on a barrel but his enthusiasm and performance are limited and brief.
I am often asked which of my films has come closest to my own ideal of performance, and I always answer, 'Educating Rita.'
For me, the performance was always playing different people. And so when I got older, was no longer the romantic leading movie star, it became more and more interesting for me, the characters I played, you know?
I don't care what the press is about a person that I'm working with. I care about how they come to work every day. I don't care who broke up with who or who is sleeping with who or who went out where. I don't care what you do with your personal life. It's when people take their personal lives into a space where it affects their performance at work, that's when I would stop taking someone seriously.
Lance Armstrong admitted he used performance-enhancing drugs throughout his career. He confessed in front of the most respected judge in the land, Oprah Winfrey.
Jazz is America's own. It is played and listened to by all peoples - in harmony together. Pigmentation differences have no place... as in genuine democracy, only performance counts.
There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.
One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.
I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.
I would always choose the script. You get more creative control that way. But, when you're in a situation like this, where everyone is really funny and you really want to do it, that's the chance of a lifetime, so you want to do it. But, a script has longer legs than a performance and, in the end, is more satisfying. It's harder, but it's more satisfying.
I just like surprising people. I never want to get to a place where people see that I am in a movie and they go see the movie and they expect a certain performance one way or the other. That is just inherently boring to me.
It was during this [as a kid] time that I came out of my shell vocally and performance wise, I learned how to really and truly sing in a different way.... my way. It was an amazing experience because I also realized my lifelong dream - to sing my own songs...I have something to say and it was a great release for me to share that part of myself with others.
I've just always been that kid that was like, "Look at me! Look at me!," and doing performances and skits. I'm also, as most artists are, a very sensitive person, so I need that outlet to release that. Art needs to be in my life, otherwise I can't function as a human being. I heard Madonna say, "Live it, breathe it, eat it." That's how I am with the artistic part of myself.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
[Greek] Theater started off and used masks and Kabuki, in the East, they used mask-work. And then, Commedia dell'arte in Italy and then, you know, we're part of an acting tradition and, and performance capture is no different.
I was doing experimental noise-based music and I learned a number of things about performance. I was playing small shows - sometimes without a PA - where people couldn't really hear me so I relied a lot on physicality and a sense of discomfort and risk.
I'd been used to this idea of destructive performance art instead of a slick, good-sounding show. So, I became frustrated as I felt I'd been doing the shows wrong. That sucked.
The performance of buggery is no more inevitable a part of homosexuality than an orange syllabub is an inevitable part of a dinner: some may clamour for it and instantly demand a second helping, some are not interested, some decide they will try it once and then instantly vomit.
Walking back and forth also helps by creating the illusion that you are thinking of the routines on the spot, giving your performance a more spontaneous feeling.
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