As any speaker will tell you, when you address a large number of people from a stage, you try to make eye contact with people in the audience to communicate that you're accessible and interested in them.
Somebody has to be on stage, and some people have to be in the audience. That's the only difference. Don't put any thought as to why you are on the stage or how you need to be 'better' than the people in the audience. You aren't better. You're simply the speaker.
To bring a large audience to a piece of serious music and make it accessible does not mean reducing it in any way. And I've learned that if something is good, even if it is a little difficult, people will get that it is good.
The most important thing in my life, and the thing I try to focus on, is to try not to live a life of cruelty. That means trying to make sure I look people in the eye when I meet them. Sometimes you jump in a taxi, or maybe you only have two minutes with someone, and you never see them again. I try to always look them in the eye and have a real experience of what it is to communicate with someone.
On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!
I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.
You look out into the audience and you see so much joy on people's faces. You make eye contact with people who are almost crying because they can't believe they're seeing the Rumours five back again, they can't believe their eyes. It's almost like a family reunion on stage, there's no angst, there's no animosity, there's just tremendous amount of friendship.
A horse perceives eye contact as provocative, as if it and its status in the herd are not being respected. If it cannot avoid eye contact, it will react in a different way, by rebelling for example. In dressage you don't get anywhere by not showing respect, however superior your species might be. Any animal trainer can tell you that. In the mountains in Argentina there's a wild horse which will jump off the nearest precipice if any human tries to ride it.
As scary as it is, I like making real, direct eye contact with people from the stage. In a sense, it's like modeling: that feeling of locking in and projecting some kind of emotion to try to captivate people.
I will miss the contact with the people - the privilege of trying to communicate to people every day that the court system is going to work for them the way it's supposed to work. That doesn't guarantee they're going to get the result they want, but the court is going to listen and follow the law and try to make a fair decision. That is an awesome privilege and responsibility I will miss.
I don't try to communicate with my 'audience'. I don't bother with that any more. I used to try to have conversations with people, but it's futile.
I try to do a lot of direct contact with the audience, because the audience is part of the concert, too, as much as anyone on stage, and it's a shame not to get to meet them if you get the chance.
I think it is incredibly important to be open and accessible and treat people fairly and look them in the eye and tell them what is on your mind.
For the average audience, the credits tell them there's only
three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren't interested in.
I aim to set up the audience for what's coming;
make them expectant.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
You don't tell people who disagree with you they'd be better off somewhere else. And you don't reduce them to stereotypes; you address them as fully formed people worthy of respect. You try to persuade them.
I have a big thing with eye contact, because I think as soon as you make eye contact with somebody, you see them, and they become valued and worthy.