Quotes on Stage

While you cannot deliver policies without principles, you cannot deliver principles without having power. You have quickly to move to a stage where, emphasising your principles, you build a programme, then call for popular support.

You gotta know that you're better than anybody, 'cause to me, if you don't go in like that, you're gonna lose! They're gonna punk you out! On any stage, court, business venture, on the anchor desk - whatever. You've got to go in believing, 'I can do this better than anybody.'

Vedanta teaches that consciousness is singular, all happenings are played out in one universal consciousness and there is no multiplicity of selves.

I always try to be myself. Ever since I was an introverted kid, I'd get on stage and be able to break out of my shell.

Personally, I always wondered about authors and celebrities who loudly declared there was no God. It was usually when they were healthy and popular and being listened to by crowds. What happens, I wondered, in the quiet moments before death? By then, they have lost the stage, the world has moved on. If suddenly, in their last gasping moments, through fear, a vision, a late enlightenment, they change their minds about God, who would know?

For the message of television as metaphor is not only that all the world is a stage but that the stage is located in Las Vegas, Nevada.

On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.

Art is the close scrutiny of reality and therefore I put on the stage only those things that I know happen in our society.

I think a lot of people mistake my confidence on stage for cockiness in real life, and that's actually farthest from the truth. When I'm on stage, I'm that confident and that cocky because I have a microphone in my hand, and there's a few thousand people staring at me. And I know they're there to laugh.

But when I went on the stage to do a show, I would put on makeup because I felt that it enhanced my act; it drew attention to what I was doing.

The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.

If you get something right, you really feel it, right in your chest, on stage. I think it's an incomparable experience.

When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused

I personally would like to bring a tortoise onto the stage, turn it into a racehorse, then into a hat, a song, a dragoon and a fountain of water. One can dare anything in the theatre and it is the place where one dares the least.

As actors, we're all encouraged to feel that each job is the last job. They plant some little electrode in your head at an early stage and you think, 'Be grateful, be grateful, be grateful.'

Ever since I was younger I wanted to be on stage, singing my songs in a glittering costume. And that happened and is still happening. I have to remember that this is what I wished for and be grateful because there are 500 other girls right behind me that are ready to snatch it up.

Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.

There's a trick to the Graceful Exit. It begins with the vision to recognize when a job, a life stage, a relationship is over - and to let go. It means leaving what's over without denying its validity or its past importance in our lives.

Every good movement passes through five stages, indifference, ridicule, abuse, repression, and respect.

How do I know why Miles walks off the stage? Why don't you ask him? And besides, maybe we'd all like to be like Miles, and just haven't got the guts.

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.