Yoko Ono Quotes

It might be thematic work. It might be theatrical. I enjoy that kind of work.

From the very beginning, I started doing music performances with a lot of theatrical aspects to them, where humor was a part of it but not necessarily had to be. Humor is just another tool to make the palette more rich and interesting for myself and eventually for the public. It's a great way to break out of convention.

If you do television, and it's great, it's the best job there is. Every week it's another opportunity to really make that work and figure out how to make it work better. I love that it's like theater too, and the audience, and it's so short, like twenty minutes... It's like a Haiku or something.

I write my plays to create an excuse for full-tilt acting and performing.

Poetry has, in a way, been my bridge to my acting career.

I did that Grammys thing - I did a little freeform poem.

A certain rough-around-the-edges improvisational looseness - a sense of something coming together before your eyes, or not quite - may be one of the things that distinguishes performance art from theater.

We started combining the use of light and the use of theatrics and the use of as many art forms as possible, and it's still growing - that's the whole idea of it.

I would totally, if Alan Cumming is tired of doing Cabaret, I'd be like, 'I'll do it tonight.' I would have such a good time doing that.

At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.

You can't just sit there and do the lines. You have to do something revealing or unusual.

At this point we've answered about every question you could possibly imagine about Deep Space Nine, so we do this thing called Theatrical Jazz, where we do a show of bits and pieces of things from plays and literature, poetry... stuff that we like. It's fun.

A seven-minute take is almost like theater.

On Broadway, there is no censoring, just self-censorship and doing what makes sense.

When I moved to New York, I didn't know how much improv and comedy would play into my life. I thought I was going to do theater and Broadway and stuff.

In the early days of the Libertines, we used to put on Arcadian cabaret nights. There'd be some girl climbing out of an egg; we'd try and get a couple of mates to tell a few jokes, performance poets, and then we'd play in the middle of it all. More people were on stage than in the crowd.

I don't like the stigma that comes with being called a poet . . . So I call what I'm doing an improvisational adventure or an inebriational travelogue.

If I want to do the kind of work that I like to act in, I need to open my mind to it.

When I do any stand-up, you're the writer, director, and producer. You're alone.

I love acting. I love play-acting. I love pretending. I love telling stories so whether they be comedic or serious or whatever, it doesn't really matter to me. I enjoy telling a good story. I have it all in me.

One of the pleasures of being an actor is that it takes you places you wouldn't ordinarily go, and you don't enter as a tourist, you really enter the life of the place.

That's really what keeps me playing live - appreciation. And I guess I've made a lot of wiggle room for myself to try different things and discover what I'm doing, and the audience accepts it.

Stand-up is the place where you can do things that you could never do in public.

One of the favorite games I play, when I improv or take on a character, is what I like to call arrogant ignorance. That's the game I enjoy playing most.

To my father, art had no restrictions. He was a true 'American Primitive.' He greatly enjoyed sketching and photography, carrying a camera with him whenever he could.