A Quote by Michael Tippett
Music is a performance and needs the audience.
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The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
Playing live is much more natural for me. The instant reaction and the feedback from the audience is great for me. I really relish it. And if you play blues-based music, it's not really academic music or recital music. It really needs a bit of atmosphere and a bit of interplay and a bit of roughness, and you really get that with an audience.
Every single performance of 'Fleabag,' I would learn so much from the audience reaction or how you could change it all the time, and I loved that sense that the performance is ever-growing and changing and could be affected by the audience.
It still amazes me how many musicians aren't really interested in engaging with their audience at all. Alfred Brendel, a pianist for whom I have the greatest respect, has described performance as a sacred communion between the artist and the composer. But what about the audience? Music is communication, a two-way street.
Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.
The artist must forget the audience,
forget the critics, forget the technique, forget everything but love for the music.
Then, the music speaks through the performance,
and the performer and the listener will walk together
with the soul of the composer, and with
God.
In my case, I take part in performance-oriented music and believe it is my call to show the audience something that both their eyes and ears can enjoy.
I love storytelling and I love just relating directly to an audience. That's why we do theatre, it's because we love contact with the audience. We love the fact that the audience will change us. The way the audience responds makes us change our performance.
The audience is the most revered member of the theater. Without an audience, there is no theater. Everything done is ultimately for the enjoyment of the audience. They are our guests, fellow players, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
Music is an art form that doesn't need to be explained. It needs to be performed; it needs to be felt; it needs to be listened to; it needs to progress.
In a play, you can adjust your performance to audience reaction, but in a film, it's like you're trapped in a bad dream watching yourself act, and you're in the audience.
In a play, you can adjust your performance to audience reaction, but in a film it's like you're trapped in a bad dream watching yourself act and you're in the audience
My general take on American music since 1969 is that it's just getting stiffer and people are getting more uptight - audience, performance, and palace guard.
Performance art can involve the audience with taste, smell and sounds not available with electronic media and not practical with conventional theater. This is due to the usually small audience.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
I think one of the reasons I haven't been doing music is because I think that some of my performance, like, needs are being taken care of in other mediums.
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