I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.
People used to believe their life--or at least their life as a performer--was over at 28 or some ungodly age! God, when I think of myself back then, I had no idea who I was. I think I'm barely getting that under control now.
Back in the 1970s, I ate a high-protein diet to get bigger and stronger. As a senior at Utah State, I weighed 218 pounds with eight percent body fat, and threw the discus over 190 feet. Then I got some advice from the people at the Olympic Training Center. I needed carbs, they advised, and lots of them. They pointed to studies done on the American distance runners. Being an idiot, I took the advice to eat like emaciated, over-trained sub-performers. It took years of high carbohydrate grazing to learn the evils of this advice.
I've discovered that numerous peak performers use the skill of mental rehearsal of visualization. They mentally run through important events before they happen.
In the state of emptiness, you are the action not the performer of the action. Allow an activity or event to take precedence over your own point of view.
I grew up, in my childhood, with some of the greatest women performers, on stage and on screen, and even my family - my mother and my sisters. So I was very busy watching women, as a child! I have a lot of memories of great women performers
You have to face the fact that I have no reputation as a composer; I have my reputation as a songwriter and a performer-and that opportunity came this summer, when I was invited to perform at the Lincoln Centre festival in New York... three nights.
The professionalism of technique and flash of dexterity are more comfortable to be around than raw creative power, hence our society generally rewards virtuoso performers more highly than it rewards original creators.
The younger generation of performers really enjoy their success. Its like they know their moment is here right now and probably won't be here in a few years.
It's personalities, it's conflict, it's all of these things that actually make performers interesting.
Performers always come back from the Edinburgh festival with adventure stories. Watts told a few: meeting a young kilt maker who spent a year in a madhouse after eating too much LSD, and accompanying Seattle actor and musician Michael McQuilken (of Collaborator Productions) to the hospital after a Frisbee accident. He reached up to catch it and cut his hand on a sign, .. He had to get a few stitches, but I think he can still play.
The key factor separating geniuses from the merely accomplished is not a divine spark. It's not I.Q., a generally bad predictor of success, even in realms like chess. Instead, it's deliberate practice. Top performers spend more hours (many more hours) rigorously practicing their craft.
There are two types of people, two types of performers: Performers who know how to keep a show going literally when the power is gone and performers who haven't had that much experience and will panic and freak out and don't know what to do.
The objective.. is to achieve a comfort level between the cook/artist/performer and the customer/viewer/diner. And if we can achieve that, and the customers are happy and the cooks are happy, then we have a great experience.
I've never been comfortable as a lead performer, and I never wanted to be a singer, particularly.
It was never the goal to be a solo performer. It was just something that made the most sense at the time.
In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers :;that the content and form of a play or a film scenario was of little importance to us. What mattered was was the opportunity, which came so seldom to our folks ... Later I came to understand that the Negro artist could not view the matter simply in terms of of his individual interests, and that he had a responsibility to his people who rightfully resented the traditional stereotyped portrayals of Negros on stage and screen.
I was not intrigued with the accouterments of success and fame, the furs, jewels, expensive automobiles and mansions... I can assure you that these things were not on my mind when I sat spellbound in that Pozzuoli movie house. It was what these performers on the screen were doing, not what they received for doing it.
I don't have the temperament of a performer, and I certainly couldn't do it every night.
I'm an actor. I'm not a performer. I'm not like a song and dance guy who can take a cane and a hat and do it. I would just you know. That's why I never did commercials.
It's never like we're up there being miserable at work, that's not something that happens for us. We love our work. So, when the performer loves what they're doing, it's easy for us to love what we're doing.
I'm incredibly grateful for the time I spent with STOMP and even more so for the skills and awareness I developed as a performer during that time.
Phony psychics like Uri Geller have had particular success in bamboozling scientists with ordinary stage magic, because only scientists are arrogant enough to think that they always observe with rigorous and objective scrutiny, and therefore could never be so fooled while ordinary mortals know perfectly well that good performers can always find a way to trick people.
What plethora of material goods can possibly atone for a waking life so humanly belittling, if not degrading, as the push-button tasks left to human performers?
I don't get on stage and give a social diatribe. I am a performer and an entertainer.
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