A Quote by Gustavo Dudamel
I think the atmosphere of a Prom concert can change your life, in the best way. It's so deep, the feeling you have there. The audience is so close, and there are so many of them, that you feel they are almost embracing you.
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I feel that tennis is an art form that is capable of moving the players and the audience - at least a knowledgeable audience-in almost sensual ways. When I'm performing at my absolute best, I think that some of the euphoria I feel must be transmitted to the audience.
I can hardly express in words my deep feeling and sympathy for them, knowing as I do, the many serious handicaps and obstacles that will confront them in almost every walk of life.
When someone says "that resonates with me" what they are saying is "I agree with you" or "I align with you." Once your ideas resonate with an audience, they will change. But, the only way to have true resonance is to understand the ones with whom you are trying to resonate. You need to spend time thinking about your audience. What unites them, what incites them? Think about your audience and what's on their mind before you begin building your presentation. It will help you identify beliefs and behavior in your audience that you can connect with. Resonate with.
When you fall in love for the first time, you're naive to every feeling that you're feeling, and you're almost obsessed with or addicted to that person. Your life is consumed by them, and everything you want to do revolves around them. I think it's great.
In concert, I often try to feel the audience and feel their way of hearing. If I feel that there is no contact between the audience and the music, I try to look stronger within myself, hoping that this will lead to a better contact.
One of the findings that really interests me is that, although we think we ACT because of the way we FEEL, we often FEEL because of the way we ACT. So an almost uncanny way to change your feelings is to act the way you WISH you felt.
When you're on stage and the stars are aligned and the audience is as one and you're guiding them, steering them... It's a feeling of incredible potency, of unity, of such, such joy. It's almost overwhelming to know that you're making that number of people feel better.
I usually need a lot of time to be completely alone with the particular piece, the composer, and the instrument. I also prefer a very quiet atmosphere, and I usually choose pieces that are very close to my personality, my heart. I think the audience can feel it.
In Berlin... it's important to present a concert that will change their ears... so if you present a Tchaikovsky symphony, you get almost no audience.
I do have a close circle of friends and I am very fortunate to have them as friends. I feel very close to them I think friends are everything in life after your family. You come across lots of people all the time but you only make very few friends and you have to be true to them otherwise what's the point in life?
Because of an off-hand funny comment I made backstage at a concert years ago, a story circulated that the song has been a burden and even that I didn?t sing it for a while. That?s completely false. I am very proud of ?American Pie? and the many satellites that grow from it and revolve around it. For many years I carried my songs around and now they carry me around. I have always sung ?American Pie? for my audience and would never think of disappointing them since it is they who have given me a wonderful life and untold affection for almost 30 years.
If you have this deep feeling of empathy for the natural world, you feel it so profoundly. It's almost a religious experience. I feel that I could never really say the depth of feeling or connection I feel to the natural world, which has made me.
It's such a wonderful feeling to watch a child discover that reading is a marvelous adventure rather than a chore. I know that many writers for children say they do not write specifically with a child audience in mind ... This isn't true for me. I am very aware of my audience. Sometimes I can almost see them out there reacting as I write. Sometimes I think, 'Oh, you're going to like this part.
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.
The funny thing is that I feel close to all my characters. Deep, deep inside them all. I can't describe how deeply I love them all.
Writing about a place is, of course, one good way of feeling close to it, feeling you have made something out of your interaction with that place. It's like a marker of your own experience, of that time in your life.
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