A Quote by Asha Bhosle
I hate a sleepy, nonresponsive, and silent audience because it fails to excite me as a performer.
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When you talk about the exchange of energy between performer and audience and audience and performer, I hope that I'm one of the best.
I believe that classical music comes through listening and practice, and it can be fun both for the singer or performer and the listener or audience, as long as the performer is taught to recognise the pulse of the audience.
They just kept grinning at me from over the stupid sign, Dopey because he's too dumb to know any better, Doc because – well, I guess because he might have been glad to see me. Doc's weird that way. Sleepy, the oldest, just stood there, looking … well, sleepy.
It's always been impressive to me when someone can really do what they want onstage. The audience has confidence in the performer and the performer has confidence in the crowd.
There's something to be said for being sleepy-eyed. I love sleepy eyes - that sort of vulnerability of being slightly discombobulated because you don't know where you are. But I like that vulnerability. It's sexy to me.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
'The Voice' gave me the exposure that YouTube was never able to provide for me, just because I didn't have a label or that kind of opportunity before. It also kind of trained me as person and performer with an audience.
For me, my first hearing of the script matters. It has to excite me as an actor and as an audience.
I just love seeing my audience live, and I also love to see my peers perform because it inspires me to be a better performer as well.
At heart, I guess I'm a saloon singer because there's a greater intimacy between performer and audience in a nightclub. Then again, I love the excitement of appearing before a big concert audience. Let's just say that the place isn't important, as long as everybody has a good time.
Ultimately every trick succeeds or fails with an audience because of its plot.
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A genuine satyagraha should never excite contempt in the opponent even when it fails to command regard or respect.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
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