Performance Quotes
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I am always more interested in performance and character depiction, and my direction says as much.
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Don't lower your expectations to meet your performance. Raise your level of performance to meet your expectations. Expect the best of yourself, and then do what is necessary to make it a reality.
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Expected outcomes contribute to motivation independently of self-efficacy beliefs when outcomes are not completely controlled by quality of performance. This occurs when extraneous factors also affect outcomes, or outcomes are socially tied to a minimum level of performance so that some variations in quality of performance above and below the standard do not produce differential outcomes.
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It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.
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I hate it when I see people texting at a show. And talking to each other. They're at a performance; they should respect the performer.
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You need 10,000 hours to figure out how to be good at something and I agree with that to a certain extent. It's like everything you do to lead up to a great recording or great performance is everything you've done in the past and you can't just, it's rare that someone wakes up in a void and goes and wakes up and makes the most brilliant recording or performance.
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Obviously, it's not a performance that we're proud of. But nobody's going in the tank, or giving up. We're going to come out next week and have a lot of our problems fixed.
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I am a huge fan of Jessica Lange. I think her performance in Grey Gardens is amazing.
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It's bittersweet. I tried hard, I have no regrets. For that performance, silver is generous.
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Nobody has milked one performance better than me – and I'm damned proud of it.
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What is a good performance? It lies in the hands and head of a performer... the shortest way between two people is not a straight line.
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Whereas fiction is a continual discovery of what one wants to say, what one feels, what one means, and is, in that sense, a performance art, biography requires different skills - research and organization.
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In business, we use certain principles to measure performance, and I envision applying those principles in the public sector.
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Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.
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Diamanda Galás, the avant-weird performance artist... 'The devil's wife,' someone calls her. Faith No More loves Diamanda Galás.
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I was charmed by a performance given by Crowded House at Toronto's Massey Hall where the bass player broke a string.
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You can't plan everything - if I did a performance exactly how I rehearsed it, it would be so boring.
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I do not really know what is my interview and performance style.
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It's that iconic imagery of that sea of raised fists during a live performance. It's a symbol of unity and strength and at the same time there are elements of defiance and rebellion that are inherent in that raised fist symbol. It's just one of those iconic pieces of imagery from the life of rock 'n' roll.
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I studied acting and there's certainly an element of performance. I think that the songs are in many ways written to be performed. I think about what it's going to be like to sing them on stage rather than what it's going to be like to have someone at home listening to them on a CD. I guess in that way there's a connection between my acting experience and the songwriting and the way the songs are written.
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Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.
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Behavior must also be adequately assessed under appropriate circumstances. Ill-defined global measures of perceived self-efficacy or defective assessments of performance will yield discordances. Disparities will also arise when efficacy is judged for performances in actual situations but performance is measured in simulated situations that are easier to deal with than the actualities
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There are all kinds of things that can be done. You can change rhythms, you can change chords, you can change whole concepts. But it will only work, on a record or in a performance, if you can make the people buy it.
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In performance, you don't always feel that sort of family bond right off the top. It sort of develops and grows over time.
