I'm not a director that's about precision and control and perfection, I'm about creating an atmosphere that's organic and interesting and then letting people loose, and for that there's no greater actor or performer than children. Animals are maybe a close runner-up.
The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.
The one element that stands out most clearly among our peak performers is their virtually unassailable belief in the likelihood of their own success.
Most performers reinvent themselves. Madonna, Michael Jackson, P. Diddy. They reinvent themselves into different kinds of images. Elvis Presley was always himself, an original, and he never tried to be anything but that.
It's weird, I love acting and stand-up is a very unique, solitary thing where you are the writer, performer and director. But acting is incredibly rewarding, working and interacting with people to create funny moments. I can't imagine not doing acting or stand-up, I really enjoy both of them that much.
We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.
If you're a performer, people tend to be quite positive about you or they have no opinion.
Even as a stage performer, I have my garb which is leather jackets and black jeans to make me feel a certain way. The wardrobe is really important to feeling the character you're playing.
Only in the theatre was it possible to see the performers and to be warmed by their personal charm, to respond to their efforts and to feel their response to the applause and appreciative laughter of the audience. It had an intimate quality; audience and actors conspired to make a little oasis of happiness and mirth within the walls of the theatre. Try as we will, we cannot be intimate with a shadow on a screen, nor a voice from a box.
I think we all have a similar philosophy about comedy and comic performance which is that it's at its best when you can see the pleasure the performer has, when you can see a glimmer in the eye.
At heart, I guess I'm a saloon singer because there's a greater intimacy between performer and audience in a nightclub. Then again, I love the excitement of appearing before a big concert audience. Let's just say that the place isn't important, as long as everybody has a good time.
I think an artist can fit under a few different categories depending on how much you explore your creativity. It can vary from artist to artist from musician to performer to vocalist. I thrive on creativity. So in the long run I want to be an all around entertainer.
Coming here, I sharpened and fine-tuned everything I had and needed. What I thought of as myself as a performer, I looked back and was like, ‘Wow, I improved from where I was.’ I thought I was ready and then saw the improvements I made which were unbelievable. It makes the transition from down here to up there (the WWE roster) so much easier because you’re prepared for what they need you to do. It’s not like you’re jumping into a whole other world. You’re prepared for what they need.
There's something mystical and wonderful about being in the room with the actual live performer s on stage that works. In film, it doesn't work so you're dependent on a great director to keep the thing moving along.
When I got into comedy, which was really for acting, I would see the guys who would be considered great today. They were great, but after a few minutes I could get kind of bored because they wouldn't move around. The dress code was boring to me. I didn't want to see the guy next door when I'm watching a performer. I wanted to see someone I would pay a ticket for.
I moved on to the University of California, Berkley, coordinating interpreters for Deaf students at the university. The first year I was at Berkley, we brought in artists, performers, actors, and poets to create a Deaf arts festival. I did a lot of the interpreting for the stage performers. By the second year, I realized that I really liked producing arts festivals that had to do something with signing.
Interpreting gives me a chance to do what I do well and have done since I was a kid. At one time, I might have wanted to be an actor or performer, and it somehow fulfills that in a non-threatening way.
I've never seen a performer create electricity with an audience like James Brown. He's got everybody in his hands and whatever he wants to do with them, he does it. It's amazing. I've always thought he was underrated.
Something was still there, that something that distinguishes an artist from a performer: the revealing of self. Here I be. Not forlong, but here I be. In sensing her mortality, we sensed our own.
I always knew I wanted to be a performer, and my mother started taking me to dance classes when I was five. My mother is a teacher, my father works at an insurance company. When I said I wanted to be a performer, people went, "Yeah, right." You don't do that where I come from.
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.
All of a sudden one day I was like, I'm good at this! Oh, man! People are not giving me jobs because they feel sorry for me! I am an actress. I am a singer. I am a performer. That's what I do! Once I started giving myself a little credit, the whole world opened up.
What would people think of a tradesman, that was to give a ball in his shop, hire performers, and hand refreshments about, with a view to benefit his business?
In the performer's body, you don't care how you look. It doesn't matter if you're old, fat, beautiful, or ugly. It doesn't change anything. The only thing is your charisma and how you express your idea.
I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.
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