Quotes About Performance

Every night you go out there, you get hurt. It's really the easiest way to say it. People can describe wrestling however they want to, but your body is flesh and bone, and it's not meant to be slammed on wood and steel.

Being married to Andy has given me a new appreciation for my body. He's taught me that it's not how thin you are that matters. It's how your body performs, how it endures wear and tear.

You must be in supreme physical condition. If your body isn't right, you cannot play in the Premier League.

I guess, after a race, I'm just trying to get all my fluids back in my system - we use a lot of fluids when we get out and race. My dad always does this thing he calls 'juicing' - tomato juice, apple juice, orange juice - doesn't matter what it is, just go ahead and juice your body right back up.

As you evolve, you learn that wrestling is not necessarily about stunts or spots. You need to go out and show the audience that they can love you for the persona you are - not because of the risk you're willing to take or the jeopardy you're willing to put your body in.

In wrestling, you've got to be an athlete. You can't just be a body builder; you can't just be this big strong guy who picks people up and throws them around. For longevity in the business, you got to keep your body fit and together.

Ninety percent of touring is a logistical maneuver, moving your body and everyone else's from one city to the next. You're like a piece of gear. Then you jump out of the box, get onstage, and play. That sounds cynical, but it sucks to move around so much.

I have always maintained you should be able to bench press and deadlift at least twice your body weight.

A day or two before games, it's all carb overload: pasta, rice, potatoes, stuff like that. And, straight after the game, it's important to get as much carbohydrate on as possible. Refuel your body and get as much back in as you can. As it tails off a day or two later you, ease off on the carbs and go to more protein, vegetables, and salads.

There's the hardest thing - when you cannot be as athletic or perform at a level you really want to. Your mind is telling you, but your body is not allowing you.

The most important thing in any contest is finding your rhythm and making your body work for you.

You have to feel free enough to do what your body is telling you to do. Sometimes, though, the pressure of winning and the fear of defeat limit your performance.

You have to go 100 per cent and be confident in your body.

I have played international games two days after travelling around the world. Your body clock is all over the place, and you are waking up at 4 AM. But once a game starts, then your adrenalin kicks in, and you seem to forget the tiredness.

Professional or amateur, athletes want to see progress. We like to see numbers and metrics improve, and when you have deeper insight into what's going on inside your body, you're empowered to make changes to improve and become stronger.

I told somebody once, 'You don't want the Herschel that plays football... babysitting your child. When I am competing, I am a totally different person.'

I used to take 40 minutes to warm up before going on stage. If you want to spend time with your child as well as having a career, you have to get up there even if your head's a mess. It's made me more relaxed, and I'm having some of my best shows.

Actors, their greatest tool, their greatest resource is imagination. You can take things, power objects, you can recruit your dreams, you can access your memories and get there. So the idea is not to act but to just be.

When you're a little girl, living your dreams, even tiny little stages in someone's backyard are amazing.

Its hard to explain if youve never done it, but youve got five guys in the studio, and youve got high expectations. Youve got a log of money involved, and your life and your dreams and all of your desires fall to making this song sound great for three minutes.

You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'

I had a gig in Sweden. There were thousands of people there, and when I launched into 'I'm Yours,' they were all singing along. It was as if I was singing the Swedish national anthem. I was stunned.

You create a blueprint of your best performance, and you're happiest the night you surpass that blueprint. That won't happen that often, but it will happen. It's like sculpting: you keep refining. When you have a piece that is yours, that is just you, that becomes obsessive; you think about it all the time.

I don't like rock. Honestly, I like to listen to it, but it's not for me. There's a lot of musical genres that I find interesting, but they don't suit me. It's one thing to listen to different genres, but to perform a genre that isn't yours is counterproductive.