I love being onstage. I love the relationship with the audience. I love the letting go, the sense of discovery, the improvising.
Part of the reason I fell in love with dance so early was because of people like Janet Jackson, Michael Jackson, and Britney Spears. When they would dance onstage and in their videos, that was huge for me. I lived for that.
I'm very lucky to work in so many different arenas of the entertainment industry and I do enjoy them all, but making music - original music - in the studio or live onstage is definitely my favorite thing to do.
When I'm on tour, I'm in a new city every single night, and the energy and the crowds and the kids and the screaming and them knowing every single word of my music and being onstage is such an energetic feeling with a big payoff.
As a rapper, you sort of act in music videos and in the persona you adopt onstage. You kinda have to put yourself out there and be courageous even to be a rapper. So, to step into acting was not that difficult a transition to make.
I normally feel relief that I didn't die onstage or forget all my lines. Then I start remembering that I have to do it again sometime, and it'll probably not go as well.
There's a character that I play onstage, and I can't let him loose in the supermarket when I'm buying my beans on toast.
I don't really move onstage; all I do is just gradually hunch more and more and jut out at the people in the front row.
Onstage or in films, you do affect peoples' lives, and sometimes that's very gratifying. But still, there's this little voice that says you should be doing something that matters.
I used to be more involved with every aspect of everything onstage. I'm way more relaxed now. It feels like anything can happen.
Look at Greg Jbara! I've watched him work for years, always switching. He's literally a different human being when he's onstage in 'Billy Elliot.' That's the fun of what we do.
The youth choir is up onstage now, in flowing white gowns, and they're singing something in the key of goose-bumps.
Being on stage was all about the palpable energy of a rapt audience hopefully buying into a life onstage. The immediate connection with the audience was the best part for me. The camera is not as fun, but your work is preserved forever. There's immor...
When you look into the eyes of your people out there that came to see you, that's when it's like, 'Yep, this is what it's all about.' This is why we don't sleep, and this is why we write songs and try to be the best. This moment right here onstage.
Certainly, I, as an audience, am stricken with terror if I see only two people onstage. And one person, I think, is even harder for people to take.
Once I get out onstage, it's the same sort of basic production that it is anywhere else. But I might be a little bit aware that there might be people I know out there, who wondered where I was.
Just the same way I'd say a prayer before going onstage, taking that even further and using the drum to inspire people. And using that as a vehicle for the intention.
I suddenly got used to that feeling of being in control, which I never, ever feel when I'm not onstage - a feeling that you're the master of your own universe.
I was standing onstage last year, and I felt like I wanted to be somewhere else. No matter how many people were out there, it all just felt like a blank sheet of paper.
The most important thing you can do as a performer is to be yourself, or be an onstage version of yourself. If you're not being true to yourself, and somebody likes that other version of you, you're kind of stuck.
I know I stand visibly onstage, but my function is still unseen, because I rarely see the immediate results of what I am saying or doing or writing.
