Quotes on Performance

One thing I struggled with early in my career was the delicate balance between my performance and my identity. When things on the field went well, I was cheerful and felt important. When things went poorly, my countenance and self-concept plummeted, and I was not pleasant to be around.

I love to see lack of clarity in a performance as well as clarity, as well as trust, as well as the kinds of things that human beings go through. I love to see spontaneity and 'inevitability.' How it gets there is going to shock the hell out of me, but it will get there somehow.

Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.

I always and strictly tell Nintendo employees never to use the term 'success' to describe our own performance.

I never missed a birthday. I never missed a school play. We carpooled. And the greatest compliment I can ever get is not about my career or performance or anything; it's when people say, 'You know, your girls are great.' That's the real thing for me.

To be a performance artist, you have to hate theatre. Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.

No translation can possibly be perfect. Every production and every performance is a different path up the mountain, and nobody ever makes it all the way to the summit.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'

Performance has to be mainstream art. This is what I'm fighting for.

My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.

For me, performance is a holy ground. When I perform, I really step into a different state of consciousness.

Mutual funds with superior performance records often falter.

Performance is better than promise. Exuberant assurances are cheap.

You act in a movie, and at the end of the day, the director and editor decide what your performance is.

The performance of black American identity feels very different from actually living in a black body. There's a dissonance between inside and outside.

If the lecture is good, then everything is too smooth. That's the same in music: if the performance is too good, you really don't enjoy it, because it just goes by, and you can never penetrate into the heart of it. Sometimes a poor performance is better for enjoyment, because you can look at those things that were wrong and analyze them.

I have learned from my experiences in this industry that there is absolutely no way to control people's opinions on your performance in your movie. You go out there, promote your film and hope people like the work you did.

At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.

After my performance 'The Artist is Present (2010)' at MoMA in New York, many scientists became interested in why so many people who sat across from me began to cry. I was incredibly moved by this experience also, and was very curious to know what happens in our brains when we spend time not talking, just looking at one another.

What I learned from Mel Brooks was audacity - in performance as in life. Maybe you go too far, but try it.

My job as a performer is to make sure that whatever happens in a performance lives in somebody else, that it's memorable... If you forget tomorrow what you heard yesterday, there's really not much point in you having been there - or me, for that matter.