When I miss class for one day, I know it. When I miss class for two days, my teacher knows it. When I miss class for three days, the audience knows it.— Rudolf Nureyev
Craziest good audience quotes that are about music audience
People who complain in private want an answer. People who complain in public want an audience.
It requires wisdom to understand wisdom: the music is nothing if the audience is deaf.
Every night when I go out on stage, there's always one nagging fear in the back of my mind. I'm always afraid that somewhere out there, there is one person in the audience that I'm not going to offend!
Always make the audience suffer as much as possible.
In a theatre it happened that a fire started off stage.
The clown came out to tell the audience. They thought it was a joke and applauded. He told them again, and they became still more hilarious. This is the way, I suppose, that the world will be destroyed-amid the universal hilarity of wits and wags who think it is all a joke.
When I'm writing, I'm constantly thinking about myself, because it's the only experience I have to draw on. And I don't see an exact reflection of myself in every face in the audience, but I know that my songs have validity to them, and that's why the fans are there.
When you do something noble and beautiful and nobody noticed, do not be sad.
For the sun every morning is a beautiful spectacle and yet most of the audience still sleeps.
It's about posting it forward. All digital leaders have mastered the art of posting-it-forward. Digital hugs" are crucial in a world with decreased face time. You may feel pretty confident in your face-to-face skills, but have you mastered digital messaging? The power of posting-it-forward is monumental. In fact, you will attract more followers digitally in two days than you will in two months if you show interest in your audience versus trying to get them interested in you.
There's something whimsical, satirical, and silly about British humor, which Americans have always enjoyed, and lots of us come over here because we have an audience of people who enjoy it.
A good score should have a point of view all of its own.
It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.
I never could tell a joke. I just started talking to the audience, and when the drunks would yell, "Hey, when do the broads come on?" I got good at saying, "Relax. Clear your skin up first." They called me "the insult guy," but it's never mean-spirited. I'm just exaggerating everything about us and about life.
If you don't uphold your legal responsibility to enforce the First Amendment, to provide speakers with platforms and audiences with safe, the ability to listen to speakers of all different kinds, agnostic ideology, if you don't do that as a university, you are not performing your essential function.
We don't play to be seen. I'm addicted to music, not audiences.
When you don't talk down to your audience, then they can grow with you.
I give them a lot of credit to be able to hang with me this long, because I've gone through a lot of changes, but they've allowed me to grow, and thus we can tackle some serious subjects and try to just be better human beings, all of us.
Words have a magical power. They can bring either the greatest happiness or deepest despair; they can transfer knowledge from teacher to student; words enable the orator to sway his audience and dictate its decisions. Words are capable of arousing the strongest emotions and prompting all men's actions.
There can be no revival when Mr. Amen and Mr. Wet-Eyes are not found in the audience.
The art of any propagandist and agitator consists in his ability to find the best means of influencing any given audience, by presenting a definite truth, in such a way as to make it most convincing, most easy to digest, most graphic, and most strongly impressive.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
Never treat your audience as customers, always as partners.
Drama is life with the dull bits left out.
There is no terror in the bang, only in the anticipation of it. I believe in putting the horror in the minds of the audience, and not necessarily on the screen. The length of a film should be directly related to the endurance of the human bladder.
The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.
My basic mistake in 'The World's Greatest Lover' was that I made the leading character a neurotic kook and sent him to Hollywood. I should have made him a perfectly normal, sane, ordinary person, and sent him to Hollywood. The audience identifies with the lead character.
The person who writes for fools is always sure of a large audience.
I'm a firm believer that character is highly overrated.
Character is a trick that we do with the audience's collusion.
Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues -- communicating with an audience.
The target audience goes back to conception.
That means pre-natal care, safe delivery, post-natal screening, and the ordinary stuff you do in pediatrics.
Then if your movie clicks with real audiences, you'll be sucked into some sort of Hollywood orbit. It's a devil of a place where the only religion that really counts is box office.
In the Netherlands I read the first chapter of Exquisite Corpse to an audience that laughed in all the places I thought were funny - an experience I've never had in America!
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My routines come out of total unhappiness. My audiences are my group therapy.
Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.
I'll get to the force field of this hostility, why it's there, why the rage is in any of us, why the trash takes place, whether or not it's between me and a couple of hecklers in the audience or between this country and another nation, the rage
When I sing, I feel like when you're first in love.
It's more than sex. It's that point two people can get to they call love, when you really touch someone for the first time, but it's gigantic, multiplied by the whole audience. I feel chills.
I live before the audience of One-before others I have nothing to gain, nothing to lose, nothing to prove.
I have not wanted to intimidate audiences.
I have not wanted my dancing to be an elitist form. That doesn't mean I haven't wanted it to be excellent.
Reason and truth have rarely prevailed against demagoguery when the audience is too ignorant to tell the difference.
But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.
A director standing by his film rejected by the audience is like him telling a girl 'I love myself and I don't care if you don't love me'.