A Quote by Raheem DeVaughn

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. — © Raheem DeVaughn
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.
What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.
As a solo performer, it's total involvement. What I do is to break down the wall between audience and performer.
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.
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.
What I love about comedy is breaking down the barrier between the audience and the performer.
Immediate, simultaneous connection between the audience and a performer is crucial to me. It's why I do what I do. Other things, like recording, are satisfying, but they're not the same. I love the connection I get with the audience when I'm sitting behind that piano.
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.
I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
When you define the audience, the performer becomes what the audience wants. Politicians do that all the time.
I think as a standup performer you have to feel the audience. So the audience kind of dictates what they get, you know?
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.
I find that the British audience listens and they accept the performer for its value, value as a singer, as a vocalist, value as a performer. You're only accepted if you're good.
Something that I think extends to a lot of African cultures is that the line between performer and audience is blurry. My mom would lead the wedding song regularly, and she isn't a professional singer. Even as an audience member, you're expected to clap and sing the response to the lead.
There are so many people in film and television that get between a performer and the audience, and that's frustrating.
I trained to be a theatre actor, I love the live gig, the transference between an audience and a performer.
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