A Quote by Alfred Jarry
Applause that comes thundering with such force you might think the audience merely suffers the music as an excuse for its ovations.
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How many watched the President's speech last night? [half-hearted audience applause] How many watched American Idol ? [thundering applause] Okay, there you go! You get the government you deserve.
Standing ovations have become far too commonplace. What we need are ovations where the audience members all punch and kick one another.
You can tell by the applause: There's perfunctory applause, there's light applause, and then there's real applause. When it's right, applause sounds like vanilla ice cream with chocolate sauce.
Applause is an instinctive, unconscious act expressing the sympathy between actors and audience. Just as our art demands more instinct than intellect in its exercise, so we demand of those who watch us an apppreciation of the simple unconscious kind which finds an outlet in clapping rather than the cold intellectual approval which would self-consciously think applause derogatory. I have yet to meet the actor who was sincere in saying that he disliked applause.
Those of you who speak only English, applaud [audience applause]. Those of you who speak only Spanish, applaud [audience applause]. [In mock incredulity] Then how do you know what I just said?
I performed six concerts all over the U.S.S.R. during the time of Gorbachev. The entire audience was Russian. There were no Indians. Period. The audience turned out in large numbers and gave standing ovations to all my songs. They knew each song. That was an amazing experience.
I have never seen the sea quiet round Treasure Island. The sun might blaze overhead, the air be without a breath, the surface smooth and blue, but still these great rollers would be running along all the external coast, thundering and thundering by day and night; and I scarce believe there is one spot in the island where a man would be out of earshot of their noise.
Excuse my voice - I don't have the thundering voice I used to have to get players going on the ice anymore.
We don't really worry about... what the audience might think. When we make a piece of music we don't worry whether they will like it or not; we are really trying to create the music that we want to listen to as individuals. We think it's the healthiest way.
When you can be your own best audience and when your applause is the best applause you know of, youre in good shape.
For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.
I think, often times, it's the audience that suffers when a show isn't given the opportunity to have a beginning, middle and end.
In its beginnings, music was merely chamber music, meant to be listened to in a small space by a small audience.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
Authority, as you usually think of it, is merely the excuse the strong use to make others conform to what they want.
FORCE, n. "Force is but might," the teacher said p/ "That definition's just."/ The boy said naught but throught instead,/ Remembering his pounded head:/ "Force is not might but must!"
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