Performance Flexibility Quotes

I play different styles, and am very good at changing how I play.

You have to have the ability to adapt. That's probably the single most important quality you need to have as a WWE Superstar.

Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.

You can actually improvise a lot as a voice actor. It's not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn't matter really how far along they are in the process they can really just make the character say something different.

Normally, when I write the setlist for a Dream Theater show, I'll change it up every night, and we can basically play whatever we want.

You do have habits and rhythms that you do sort of fall into when you're acting, but if you've got text that doesn't allow you to do that it puts you in a bit of an uncomfortable space and takes you out of your habits.

The actor should understand the script and come prepared to play the role. At the same time, they should be flexible enough to take the director's input and portray his vision.

In order to be the best comic, you have to perform in a wide diversity of rooms.

I don't know any comedian who tailors his act to his audience. Maybe people say they do, but I can't even imagine them.

When we played with the Rollins Band, we'd keep songs going until we felt like ending it.

If you're locked to the words on the script, as good as those scripted words are, if you didn't have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you're not allowed to stray from that, you're going to have a stilted scene.

People forget actors can adapt and change their appearance. In this industry, people sometimes cast to type, or as close to type as possible, but actors are a lot more versatile than you think!

It's fine with me if people want to applaud between movements of a concerto. It doesn't bother me - it's part of performance experience. Sometimes when they applaud if I'm still playing it's not as good, but there's always a way around it. Actually the applause gives me a little rest and chance to stretch, too.

I was offered to take over for Reba in 'Annie Get Your Gun,' but it wasn't where I wanted to be. I think my fans would be upset if I confined my shows to one city for a long period of time.

With solo shows, you have complete control over the set list. If you feel like you want to do something different or do a new song, you can just work it in. You can talk to the audience or not talk to the audience. There's nothing that's set.

There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.

People think for Shakespeare you have to have a big English accent, but it's not true. He designed it so it can be performed in any accent in any time period.

When I come up against a director who has a concept that I don't agree with, or maybe I just haven't thought of it or whatever, I'd be more prone to go with them than my own because I want to be out of control as an actor, I want them to have the control, otherwise it's going to become predictably my work, and that's not fun.

I love going back and forth from drama to comedy. I love switching it around and showing people that I can do both.

When you play arenas you can create whatever you want. At a theater the height of the stage and the limitations of the theater can make you feel more separate from the audience.

It is very important to me that my songs can sound amazing with a big band or orchestra, but just as powerful and touching with just me and my guitar.

A great many quite good plays could be performed with rhythmic howls in the place of dialogue and lose almost nothing by the change.

I think the more you do as an actor, the more facility you have to switch on and off.

Some comics don't like it when people talk during the set, and it does get a little bit annoying after awhile, but I basically let people dictate what jokes I'm going to do.

I recognize that there are some great things about not playing a song live, and just kind of piecing it together as you go.