Today I am taking a break from actual flute & piccolo playing tips and instead am going to waffle a little about “Things you are never taught.” The art of being on stage, at least “As I See It !” It is one thing to practice your Moyse Sonorite, the Taffanel & Gaubert exercises, A.P. Vivian and of course the Grand Studies of Leonardo de Lorenzo. (These were the Daily Food and Fodder for me as a young musician). However, no matter how brilliant an exponent you are in the art of your instrument nothing – absolutely nothing – prepares you for the requirements as a Soloist on Centre Stage. Everything from your body language to the way you stand and articulate yourself and the way you handle hecklers. Ah yes – those amusing ‘lesser aware’ individuals who think they can come into your office, just as you are introducing the next piece you are going to play, and disrupt your work with their bravado and banter! As a little bit of fun today here are some of those one-liners you really should remember:
1. I see you've set aside this special time to humiliate yourself in public.
2. It sounds like English, but I can't understand a damn word you're saying.
3. I like you. You remind me of myself when I was young and stupid.
4. The fact that no one understands you doesn't mean you're an artist.
5. Oh I get it... like humour... but different.
6. I don't know what your problem is, but I'll bet it's hard to pronounce.
7. What is your village doing with you away!
All of this set aside for a moment. Just what makes a good performance?
A great performer must not only execute their skill, but also be aware of what is happening around them all the time. They must learn to adapt and adjust to the music and the audience, be a superb public relations agent, manager, press secretary, creative director and also a soloist. In addition, it is imperative that they give their all to the performance each and every time. You are only as good as your last performance! Is this a learned skill or a natural talent? Natural ability certainly helps in the technical execution but above all one must develop a concentration and the ability to focus with precise detail upon the performance at hand. This requires practice, preparation and patience. All performers, whether they be musicians, conductors, radio, television personalities, actors, dancers or any other person who walks onto a stage or speaks into a microphone have the same goals in common:
1. Captivate and interact with the audience
You will have from 10 seconds to 40 seconds to assess the audience and have them supporting and eager for more throughout your show.
Do not be afraid to have some interaction with the audience. As a member of the orchestra this will seem of little relevance to you but as a soloist or at a recital it will make the difference. A good rapport with the audience will translate into a good translation of the music and a better communication with the audience. If the audience is at ease and enjoying themselves, so will you.
Leopold Stokowski, the consummate showman, captivated and related to the audience with his flamboyant style and the use of lightning, shadow and sound.
Sir Thomas Beecham used his flowery speech and rapier-like wit, while Arthur Fiedler took a hands-on approach when he transformed concerts with the Boston Pops Orchestra into fun, social affairs full of light brevity and laughter. Victor Borge brought his own special entertainment to the stage with him as he pursued perfection in performance. Each person will develop their own way of interacting with the audience. There is no ONE way to do so, but honing the art of interacting with the audience will ensure a more complete package and a better performance as a result thereof.
2. Deliver a message
Ideally, the message you want to send to the audience is for them to come back and bring a friend to your next performance. So whether it is a solo recital or you are the director of a school band or conductor of the London Symphony Orchestra the choice you make in the musical content will be of paramount importance.
Think before you perform.
· Who will the audience be?
· What would they like?
· What else can I do to make it an enjoyable evening for the audience?
Select your content with the target audience in mind.
3. Make it an enjoyable experience for yourself and the audience.
Remember that the audience has come to enjoy themselves. They are not a room full of enemies waiting for you to mess up. They are a room full of warm people who have come to support and encourage. They want you to perform well. If you are relaxed, they will be relaxed. If you are warm to them, they shall be even warmer in response. They are all your friends so it is safe to associate and even talk with them. The more relaxed the audience is the more relaxed and comfortable you will be.
Be comfortable.
Be relaxed.
Be yourself!
When they (the audience) leave singing or whistling one of the pieces you played your show can be considered a success.
“It is normal to be nervous.”
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