Adam Lambert Quotes

I realized that 'performing' was what I wanted to do when I did my first professional gig as a dancer with my company 'Synergy' in Canada. I was overwhelmed with how it felt to perform in front of an audience.

I prefer theatre to television - you get to feel the love.

Immediate, simultaneous connection between the audience and a performer is crucial to me. It's why I do what I do. Other things, like recording, are satisfying, but they're not the same. I love the connection I get with the audience when I'm sitting behind that piano.

I love playing to people and seeing them react.

I love the immediacy of an audience being there and reacting. I'm spoiled, having grown up in theater.

I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.

Feeling emotionally connected to a song, and accumulating every bit of the moment's energy to sing out to the audience is what I believe makes a great performer.

I love theatre because it's just me and the audience. It's the litmus test in acting, to be able to sustain a performance over one, two or three hours.

I love theater work because of the immediate effect your performance has on the audience. And I love the repetition; I love getting on the same stage for more than a month and reciting the same lines, trying to make a small or large step towards an improvement in my acting.

When you put the musical in front of an audience, you get to see how the audience reacts.

Acting for screen is very different from acting on stage, and then obviously when you dance... everything is a physical embodiment. But the discipline is the same approach. You have to take both things seriously; nothing well-crafted is by mistake.

I hadn't performed by myself in a while. It feels very natural to me, and I assume people come for the very same reasons as they do when I'm with the band: to be moved, for something to happen to them.

People often argue about this. Obviously one of the skills in performance is acting, and you can't expect every Romeo to really be in love with their Juliet!

All my life I wanted to play music with love to every member of the audience.

I'm not Charlie Chaplin and will never, ever claim to be. But when I become the 'Tramp,' I can feel the hair stand up on the back of my neck.

Performing on stage is my first love - it's why I wanted to be an actor in the first place - and 'Arcadia' is the highlight of my career so far. I love the intimacy of a live theatre audience - you can really squeeze every last drop out of each scene.

I just feed off the energy of the audience.

There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.

My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.

I enjoy being on stage with other artists. I have a chance to watch and see people responding to the other artists songs. I get to see how people are affected by the music.

In 'Malvolio,' the audience laugh at me, and I use that laughter to crack open the question as to why they are laughing.

You know, we're not on stage, we're not doing a play, so we don't have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.

When you're onstage, you're acutely aware of the reaction of a particular group of people, because it's like a wave.

There's nothing like walking out and watching the people get turned on. Nothing in the world could replace it.

I don't know why people are so surprised by my live performances. My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears or inspiration. Otherwise, why should I do it?