Quotes on Stage

There was this moment when we made 'Superunknown': the Seattle music scene had suddenly ended up on an international stage with huge success.

On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.

Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.

I hated singing, I hated being on stage; I hated being in the Cranberries. I was constantly crying. I was going insane. I wanted to be a shopkeeper, a hairdresser, anything. I was so desperate to have a reality, friends, a regular, boring life. I missed that.

People don't look at you singing. They go within themselves and listen. Music is about listening, not looking. That's why I wore these huge baggy dresses on stage with The Cranberries.

It's a controlling thing on stage - you're directing the action, getting people to play their role. In real life, I take being kind and nice seriously, so the last thing I'd ever want to be is that weird, controlling, manipulative character.

What I've tried to do in my stage magic is to take a trick and give it an emotional hook.

Acting is all about relating to the people on stage with you, even in plays that break the fourth wall. Clowning, for the most part, is the opposite. If somebody in the audience sneezes, I can count on it: I don't even have to look at Shiner; he'll have his handkerchief out. It's all about all of us in the room together.

After the scarlet fever and the whooping cough, I remember I started to get mad about it all... I went through the stage of asking myself, 'Wilma, what is this existence all about? Is it about being sick all the time? It can't be.' So I started getting angry about things, fighting back in a new way with a vengeance.

The problem is not simply that the Singularity represents the passing of humankind from center stage, but that it contradicts our most deeply held notions of being.

Once in awhile, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often.

Society in every state is a blessing, but government, even in its best stage, is but a necessary evil; in its worst state an intolerable one.

In hindsight, if I could go back in time and relay a message to my younger self, I would tell him to work on his time keeping, and that the job of a drummer is not to be the one that gets noticed the most on stage, or to be the fastest, or the loudest. Above all, it is to be the timekeeper.

By saying the thing that I'm most embarrassed about on stage, I end up witnessing the fact that it isn't a problem. People don't usually walk out, when I say the thing that I'm deeply ashamed of.

I love working with really early stage startups where the outcome is still in doubt. Maybe they'll go on to greatness, or maybe they'll never get off the runway at all.

I find that when I get on stage now, I don't want to perform a lot of my songs because they don't feel like me. So I want to make songs that are timeless.

I offer my performance as prayer for someone I've worked with as an actor or someone who has died. The image that comes into my head as I walk to the stage, I offer that performance up for that person.

It's still a political statement to stand on stage as a person of color and be excellent. We still need those images to combat the narrative we're often fed - as someone innately inferior or inexorably linked with lack.

Everybody gets told to write about what they know. The trouble with many of us is that at the earlier stages of life we think we know everything- or to put it more usefully, we are often unaware of the scope and structure of our ignorance.

She had lost all our memories for ever, and it was as though by dying she had robbed me of part of myself. I was losing my individuality. It was the first stage of my own death, the memories dropping off like gangrened limbs.

We can tell much by what we have already willing discarded along the pathway of discipleship. It is the only pathway where littering is permissible, even encouraged. In the early stages, the debris left behind includes the grosser sins of commission. Later debris differs; things begin to be discarded which have caused the misuse or underuse of our time and talent.