Rehearsal Preparation Quotes

There is nothing to compare with the instantaneous feedback a singer gets from the people sitting in front of him. That is where it all comes together - all the rehearsing and working to get everything just exactly right.

My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.

Well, any time I'm preparing for a performance or even a rehearsal, it's as if in a way, like any other athletes, these are muscles that support the vocal cords which are just I believe cartilage. It demands a kind of constant warming up and a constant feeling of where is the voice today.

Typically, my cardio consists of an inclined walk and run on the treadmill for 40 minutes. After that I'll do three sets of 20 push-ups, 100 crunches, and then I'm off to rehearsal.

I've done three Broadway shows; once the curtain goes up, that's it. I mean, you prepare and you rehearse like crazy, but after opening night, the director's not there anymore, you know. He gives you notes during previews after each performance, but opening night, you're on your own.

I truly love the rehearsal process, those eight hours a day! I really love actors.

Elektra has no control over the live show, at least.

Things like dressing, postures and gestures are under the artiste's control. If I'm performing, my safety is primarily my responsibilityso I shouldn't end up doing anything that would infuriate the audience.

Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.

All the real work is done in the rehearsal period.

When we're ready to do the dress rehearsal, we'll rehearse in the dark. No lights. The reason why I do that is because I don't want the band to rely on me for anything. 'Cause anything can happen - I might stop singing or unplug the mic, just so everybody knows: Keep going, no matter what.

People ask me what my hobbies are in interviews, and I always say biking. But all I bike for is to get to rehearsal more quickly.

As an actress, there's nothing worse than not knowing your cues.

To me, it's my job not to laugh, no matter what's said. By the time we shoot, I'm ready for all that's coming. I probably do most of my breaking in rehearsals, when I know that I can.

My preference is for people who come to rehearsal and get into the ring. I like a muscular actor who's playful.

An example I love: Diwata auditioned for the school play by doing a big number from Once Upon A Mattress. I went home and my boyfriend plunked out the notes for me, and I had to learn and prepare that song just so I could learn and know how that feels. I've never had that kind of detail in a rehearsal process. Jason Moore is absolutely unbelievable.

When you've only got few days of rehearsal before you're in the studio, it's wonderful to start off with people that you have good, friendly, tolerable relationships to start with, for the simple reason that you don't have to spend 24 hours figuring out how sensitive they are, and can you give them a line reading, or how do you have to give them direction.

It's really intense in our rehearsals; you have to get ready and condition your body.

During the rehearsal process I got thrown off the horse.

I don't really think about dance except just before rehearsals start. I put it off. I don't live my life thinking about dance.

When you audition for things, there's pressure to go in there with a complete performance, and it's kind of unfair because, if you get it, you'll have rehearsal and talk about it, and you'll have plenty of time with the script. So, for me, I really do feel like an audition is a sketch of what you might do.

It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.

Young conductors who are confident enough, they very often have success.

On a film, they'll always say there's going to be a rehearsal period, and there never is.

That's an amazing feeling, to walk onstage, and you're not thinking about anything, you're not thinking about your lines or what you're supposed to do - your body, your brain knows, so there's freedom. There's not fear, there's not nerves.