The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.
It takes about 6 hours of practice a day for quite a few years to become a professional juggler. I started when I was 14 and that discipline has helped me immensely as a performer.
These are not necessarily our agendas, but we feel a part of what a performer is, and what a performer has to say is more than just words and music.
I think most performers are just lazy.
In my early childhood, I was a performer by nature. I used to do puppet shows as a kid and entertain kids in classes and the teachers would make it a point that I was the entertainer of the class, but only after high school and in college that I started doing theater and acting classes, because I thought it would be fun.
I've always loved the rock & roll element to live shows, because whatever else I do, I'm basically a rock/pop performer, and that's what I like.
Mads has a terrifying subtlety and as the episodes go on, you start seeing the way a person can command other people by doing practically nothing and terrifying the sh*t out of you. He is the most astonishingly subtle performer with the most incredibly keen sense of what his face can do and how his words can form. He has a mission. Nothing is by chance. I truly believe as long as we have success in seasons that Mads will become the defining face of Hannibal Lecter.
I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious.
There isn't a performer on earth that isn't an exhibitionist. There isn't any point in being in this business if you're not an exhibitionist. And, by the way, you can be an exhibitionist and be very shy as well.
When I first went on the stage I was 17 and under the legal age for performers.
There's so many parts of your life, you know? People say that you don't get any better after the age of about forty or something like that, as a performer. I find all that to be a misconception. I don't feel bad about the way I present stuff. The calendar and the mirror - they're bastards.
I'm not a natural performer. I don't like performing very much.
I'm not actually a very keen performer. I like putting shows together. I like putting events together.
I'm doing exactly what I was supposed to do. Yeah. I didn't exactly choose this. My own life, if it were up to me, would be very, very quiet. I'd be like a shopkeeper, a book collector, or something like that. I'm not like this. Myself as a performer and an artist is totally different from who I am.
I wasn't really writing anything that I felt was worth it at the end, but then certain things sparked me as a solo writer - to be able to try new things and experiment, and ultimately challenge myself as a performer and as a songwriter and just to commit to ideas, and not be afraid to be myself.
I've always been inspired by female performers and artists who really surround who they are around their voice. For me, it's always been about the voice. I wanna hear someone just sit by a piano, on a stool, and just sing - and that's it!
Any musician with a slight level of self-awareness can be taught to write a 'good' song. A great song is completely original. It feels as if the performer is the only person who could bring it to life.
I really enjoyed working with Daniel [Craig], because he's a brilliant actor at the top of his game. That gave me an opportunity to learn from the best, which is what you're always looking for as a performer in order to grow and get better at your craft. It was also great because he was so nice and incredibly supportive, because it really was an intimidating experience for me. He sort of held my hand and said, "We're in this together and we'll get through it together." And he did look after me.
Write your own music and write frequently. Go to as many live shows as you can as well (of bands you enjoy of course). You can learn a lot watching other performers.
If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.
I just listen to so much music that I like the role music can play in scoring something. I'm not doing song parodies or funny songs, I'm just adding some music to my words. So it's limited and specific, but as a performer I find it pretty enjoyable.
I think I'm open to adventures and surprises. As a performer, I'm really just naturally talented. And those roles may not look as good on paper, but I know how to create them on screen. I like to have fun and interpret my roles in my own way.
Find me any performer anywhere who isn't egocentric. You'd better believe you're good, or you've got no business being out there.
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