Quotes About Stage

It is a great rush to come up with a joke that gets a good response from the audience. It's gold!

I never used to tell jokes on stage. Now I'm cutting up jokes all night long.

Going on stage is a performance, it's an act; you're playing a version of yourself. I don't give it a lot of thought. I clock on, I tell jokes, I clock off again.

Siamo gli attori ingenui su una scena di un palcoscenico misterioso e immenso.

The pulpit elevates the clergy to a position of prominence. True to its meaning, it puts the preacher at center "stage"—separating and placing him high above God's people.

If all the world is a stage, then acting, allowing ourselves to be touched by the experiences of others, is the means by which the world can become connected in understanding and love

In this symphony that is my life, God is not content to be a member of the audience or stage crew. He is not even content to be the conductor. He wants to be the composer.

Being onstage is comfortable for me because it's my work, but put me in the middle of a cocktail party and you'll find me with a frozen smile, wishing I could curl up under a table in the fetal position.

The function of profits, finally, is to put constant and unremitting pressure on the head of every competitive business to introduce further economies and efficiencies, no matter to what stage these may already have been brought.

An enthusiasm for Poe is the mark of a decidedly primitive stage of reflection. Baudelaire thought him a profound philosopher... Poe was much the greater charlatan of the two, as well as the greater genius.

Passion, and passion in its profoundest, is not a thing demanding a palatial stage whereon to play its part. Down among the groundlings, among the beggars and rakers of the garbage, profound passion is enacted. And the circumstances that provoke it, however trivial or mean, are no measure of its power. In the present instance the stage is a scrubbed gun deck, and one of the external provocations a man-of-war's-man's spilled soup.

I talk too quiet, and I have to yell on stage.

Once you become a comedian, you accept that people are just going to yell stuff at you.

I have rage and anger issues. So I get mad about stuff in real life, and then I yell about it onstage, and luckily, something funny ends up coming out. What I'll do is tape-record it, and it will end up coming out even funnier. And I add more punch lines.

Alfred Hitchcock was right when he said that actors are basically like cattle. Directors just look at us and yell 'Move!'

There's nothing like the buzz of live theater. You put it out there and receive an instant reaction: laughing, crying, yelling, applauding.

Basically, I started on stage yelling and I kept yelling, and then I yelled some more, and then I yelled even louder. I'm modulated now.

Marc Maron yells at people. I have a memory of him yelling at Jonah Ray from offstage about something he was saying, just fun stuff.

When Peter Schneider first approached me about adapting 'Sister Act' for the stage, it wasn't a slam dunk to say yes.

In a way yes, I do 3-4 films a year, and I have dialogues and punches that somewhere become similar, but in a stage play, everything is different.

I feel like acting is sort of like that: You're getting so many 'no's all the time. It's just a bunch of no's and a couple of cool yes's. And especially with comedy, too, when you're up on stage, doing live shows, you get immediate yes's or no's.

At this stage in my career, I don't have to take any big risks. You want to take a calculated risk, not one that leads to people saying 'yes, but there was that one time when she made that big mistake.' It's always a shame when that happens, especially if you've gotten by for decades without anything hugely tragic.

I performed in public for the first time at three years old. I remember it like it was yesterday. It was on a big stage. There were probably three or four hundred people in the audience. We were doing this dance, this Kermit the Frog routine, all of us in our little green leotards.

The one thing an audience always has in common with a comedian is troubles. The Yiddish word for that is tsuris. You're always putting your tsuris on stage whether you like it or not. No one is untroubled, unless they're just, you know, an imbecile.