The ironic thing is I took Kole from a family name - we had a vote and they had a few names, but Kole won - and getting it spelled with a 'K' is a constant correction, too. I'll never not be Warren Blosjo; it's just my stage name.
Once you step on stage, the people are actually looking to be transformed. That's why they showed up; that's why they spent some money. And great performances do that.
The critic is genius at one remove; he is not unlike an actor on the stage, and incarnates in his mind, as the actor embodies in his person, another's work; only thus does he understand art, realize it, know it; and having arrived at this, his task is done.
Once you go from 10 people to 100, you already don't know who everyone is. So at that stage you might as well keep growing, to get the advantages of scale.
I wouldn't mind going half naked on stage, if that is what my role demands.
I'd get more applause than some because I was just seventeen. If they didn't clap at the end of my act I would limp off stage and boy would they feel guilty. They would all burst into tremendous applause as they saw this poor cripple kid walking off.
I've never worked as much as I would've wanted to, and that's why I end up doing a lot of stage as well, because stage is a full course meal.
Two, I actually learned a lot of things that served me very well when it came to repeating performances on stage, because it is a craft and you do need a technique for it.
More is asked of you on stage. It's no way to make a living. But it's like a bullfight. You find out who can do it and who can't.
At some point, we're going to have to get to the point where, before you play football, I'm going to test you at some stage in your life to determine if you're susceptible to concussions. We need a test that shows us that your brain is situated a certain way that puts you at risk. If you are susceptible, don't play football.
Dude, I love playing drums, and I love being on stage, and I love recording. It's my life... it's been my life, all my life, and I don't think it could ever become boring for me.
Anybody that goes to the theater, I think we're all misfits, so we ended up on stage or in the audience.
All the world's a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.
I didn't develop or build synths. I had my technicians modify them for my live stage performances.
If you see me walking down the street, you're gonna see the same guy as you do on stage, dressed the same, looking the same, and nothing changes. I'm just one person.
I've seen such great material, and now I'm more picky with the type of jobs that I take because it's gotta be there. There's an old theater saying: 'If it's not on the page, it's not on the stage'... You gotta have some type of standards as far as the jobs that you take and the roles that you take on.
Women didn't want to be on the stage with other women because they didn't want their bodies to be compared. They didn't want another female act opening for them because of this weird competitive and tokenistic attitude.
I hold the world but as the world, Gratiano; A stage where every man must play a part, And mine is a sad one.
I'm always amazed by the people who work on stage who sing night after night, day after day, week in week out.
I feel like something I've wanted to do for a really long time, in a feature film or anything, is playing a rocker. Somewhere where I can be on a stage and have a guitar or a microphone and just kind of jam out.
I don't do anything on stage that allows me to become a trained seal, where you're just doing the same thing over and over.
I worked with my parents on the stage in production numbers since I was 4, but I never really gave much thought to being a performer on my own until I was 12 or 13.
I think not every improviser is a good stage actor. Certainly not every stage actor is a good improviser.
On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it.
The Mirror Stage as formative in the function of the I as revealed in psychoanalytic experience.
I'm a stage actor. You know, I was - I cut my teeth on stage, you know. So I've always had a love affair with the stage, first off, what I was raised in, you know.
From my point of view, there is a lot of joy in stage work.
Self-pity in its early stage is as snug as a feather mattress. Only when it hardens does it become uncomfortable.
I loved playing sport at school in front of a crowd; I love being on stage in front of a big audience. I buzz off that.
Being a background singer is one thing, but being on stage as the star is something else again. When you walk out there with all those people staring at you, it's like you're naked to the world. And I hate being criticized.
On stage, you've got dialogue you've learned. You've got a paying audience. It couldn't be better, you know?
I tour with a piano, actually. Luckily I am able to hire people that deal with it completely and magically a piano appears on stage and then magically disappears when I leave.
There is something about seeing real people on a stage that makes a bad play more intimately, more personally offensive than any other art form.
I think I have music in me! I had a scholarship to study singing at one point, and I've never really done anything about it. I've done some music on stage, but it's been a long time. It would be kind of fun.
If I loved all the world as I do you, I shouldn't write books to it: I should only write letters to it, and that would be only a clumsy stage on the way to entire telepathy.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
