View source for Succeeding in the Performing Arts

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''' Links to Live Discussions'''
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6471066515 Acknowledging Your Cast and Crew]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/5731096515 Are these threads Productive?]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2261069215 Arriving Early]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6981044515 Beginning & End, Make them Obvious]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/1701011315 Being There -- It's Showtime]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/7401096515 Cell Phone  (Leave It Offstage)]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/8511006515 Dress for Success]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/7431017515 Eye Contact]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9721054515 Flashlights]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/3431054515 Game Tapes]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2421054515 Glow Tape]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2751069215 Green Room, The]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/7811054515 Ground Your Liquids]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/3211010315 Hydration]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/4341069215 Introduction]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9781009415 Larger than Life]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2711042515 Less Is (often) More]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/1271074515 Make BIG Mistakes]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2161086515 No One Loves You When You're Down and Out]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6771009415 Packing Your Own Parachute]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9051069215 Scouting the Venue]
* [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/4081035515 Setting the Stage]



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== Introduction ==
December 21, 2007

Ken-at-Bose<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/4341069215?r=4341069215#4341069215 Ken-at-Bose Introduction]</ref>

Hi Folks,

For the past few years, we've had discussions amongst the moderators and others about the idea of collecting our experiences in the performing arts (mostly live music) into some short essays that might help to disseminate the knowledge.

The time has come to begin this effort.

Each "lesson learned" will be a new thread, whose title will begin with "Succeeding in the Performing Arts" followed by a colon and few words about the topic.

We are completely comfortable, in fact we are hoping, that members of this community will start threads. If you do so, please use the format just given so that others will quickly know it is part of the series.

The threads are "open", meaning anyone from the community can reply and comment on the thread. We really encourage you to do this. This is an unbelievably strong community with an astonishing amount of experience in the performing arts. Let's put it to good use, okay?

Please try to stick the topic at hand. If you find yourself straying, perhaps that is an indication that you need to start another thread.

Eventually, we are hoping to copy the information over to the L1 Wiki.

We very much look forward to your participation.

Will you help us do this?

Ken Jacob
<br />Director, Advanced Development
<br />Bose Professional Systems

== Acknowledging Your Cast and Crew ==
Artists are inherently thanked by the fact that they have an audience.

Sidemen and women and crew often aren't.

We encourage artists to acknowledge their support cast and crew whenever possible.

In the theater this is done through a program, often a good choice for this and other reasons for a musical or other performance.

We also feel that a good option is to take a moment to thank key people before the last planned song or performance segment. At this time we find that an audience is receptive to giving hearty and earned acknowledgment to support people. And we find that those support people are at a point when with most of the show behind them they can relax a little and enjoy the acknowledgment.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6471066515 Acknowledging Your Cast and Crew]

== Are these threads Productive ==
From Tom Munch...

I thought Mike's post deserved to start a new thread.

:For What It's Worth (not much really, but surely a great song!)...

:I'm not sure what I think about this whole Performing Arts series of threads. Seems a little self-important, on the part of no one in particular. Pretty much a shame if it results in running off a person who seems like a very nice guy, by yet another good seeming guy. One man's humor is another man's insult? Too bad...

:I'm always interested in what ST, Tom Munch and many others have to say, about any and every thing - I solicit their opinions often, so I'm certainly in favor of advice and assistance. I read this board several times a day, more than I should, for the comraderie as much as the info, because I enjoy it.

:I really like the B.B. King line, and the cowboy boots. Everybody believes "the way they do it" is the Right Way, that's human nature. There's also plenty to learn from others, on the other side of the coin.

:Still not sure this whole boulevard seems very productive, or positive, although I'm sure it's intent was. Kinda seems like picking up little hints and tips was a better deal when they just came along in normal discussions - this handbook on how to make music may be a bit of a drag. But then, I majored in Accounting, not Music... (pretty sure that doesn't mean anything either...)

:ANY ways ... ... ...

:Remember THE MUSIC, and as Ringo always says,

:PEACE AND LOVE, brothers and sisters!

:Mike, from Texas -- where we NEVER think WE'RE right! Right? :-) 


Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/5731096515 Are these threads Productive]
== Arriving Early ==

Only rock stars can afford to arrive just before the gig, and many rock stars still arrive early to the gig.

The more complex the gig, the earlier we think you should arrive.

Surprises are less likely to hijack the performance because there's time to deal with them.

There's time to relax and get your head in the game.

There's time to practice a few things.

In the professional theater, crew call is usually 120 minutes before show time and 90 minutes for artists.

We believe this is a good rule of thumb with obvious allowances for extra time if you are both crew and performing artist.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2261069215 Arriving Early]


== Beginning & End, Make them Obvious ==
We endorse the idea of employing a little theatricality into the beginning and end of a show.

Audiences appreciate a formal start and end to a performance and conversely are less receptive to sloppy bookends.

For every single Bob Dylan show we've seen, for example, (and there have been many spanning at least three decades), the show has always begun with the announcement "Ladies and Gentleman, please welcome Columbia recording artist Bob Dylan!"

Careful use of lighting can also be effective in signaling the beginning and end of a performance.

At the end of a musical performance, use crisp body language to signal things are over. Lingering on stage attending to equipment can be confusing to the audience, or worse, appear gratuitous.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6981044515 Beginning & End, Make them Obvious]

== Being There &mdash; It's Showtime! ==
[[User:ST|ST]]

What do you do to prepare in that time brief time just before setting foot on stage? I am talking about
* mentally
* emotionally
* physically
* spiritually
* musically

When I am disciplined about it I have a routine that I go through before the performance. It is basically about being deliberately, consciously, purposefully committed to the moment, the audience and the music. I used to have to do it out loud, but these days I am more likely to do it quietly. It generally works better for me to take a moment to be alone to do this. It used to involve a mental checklist but these days it is usually good enough to say to myself, "It's Showtime!".

If I am working with other players then depending on my relationship with them, I get them involved.

Some of the people I have played with seem to have a nonchalant, almost too casual approach. They hit the stage running while still fuming over the events of the day, or running late, or chewing a sandwich or finishing a sentence. It doesn't work for me. I need to pause for a moment to remember why I am there and direct my full attention to that.

There are so many things I cannot control it is a miracle when things work at all. But one thing I can usually control is my state of mind when it is time to perform.

How about you?

The discussion is ongoing in [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/1701011315 Succeeding in the Performing Arts: Being There -- It's Showtime!]

== Cell Phone (Leave it Offstage) ==
Unless you are planning to answer your phone during a performance we strongly suggest you not only turn it off but leave it offstage.

If you must know of an emergency or urgent situation (e.g. your wife is expecting a baby) leave your phone with a trusted companion during your performance.

Avoid leaving your cell phone -- or anything else unrelated to your performance -- hanging off of your belt or bulging out of our pocket. We in the audience may feel that you're more serious about something other than the performance if you do.

As to equipment related to your performance, such as a laptop, that can be distracting or visually obtrusive to the audience, you must decide if there is a location that works both for you that minimizes the negative impact on them.

Discussion: [ Cell Phone (Leave it Offstage)]

== Dress for Success ==

"100% agree with dressing the part. The trick is to not make it a costume. Still you, just "better."

If I don't, then everything seems off to me. The singing is okay, but not what it could be. I recognize it more in my movements, I suppose. I feel more forced in what I do. Not relaxed. I think I have only gone without a tie once, and realized very quickly not to do it again.

When I have sung with Drumr's - The Cubs, I have dressed comparably to them and what I thought was right for the type of music. One time - July 4th outside - I wore what I thought was appropriate for an outdoor summer gig. Boy was I wrong!! I wore shorts and a t-shirt and sandals. I guess I sounded okay, but man did I feel uncomfortable, especially with the sandals. I just was not myself. Way underdressed. I mean, I looked like everybody else in the park (the band looked better than I), but it just was so wrong for me. Lesson learned.

Clothes don't make the man. They do however seem to make you want to carry yourself a little differently (or a lot). I do like to dress up."

Dressing for success is exactly what it sounds like, to me. Business world, industrial trades, service sector, entertainment. I say above that I really must dress in order to be my personal best. I've thought before that I really had no routines, habits, rituals, etc., in getting ready for a performance, but this simply is not the case. Over the years I have developed more in this regard. But specifically about dressing...

Put yourself together very well. Take some pride in your appearance. Certainly the techniques and end results will be different. We're not all doing the same things, obviously. For what I do, the crisper and more polished, the better. A proper-fitting suit, a crisp point collar on a fitted shirt, suspenders (or braces, if you prefer), neck tie, pocket square (not too much flourish), tie tack (even though it's not seen), good socks, and a quick shine on the shoes.

We also have what we have come to call, "show hair." It goes along with the crisp appearance, and harkens to days gone by. Obviously, it goes well with the music I sing. And Carrie is a (can I say this?) freakin' knockout.

I tell ya, primping and preening heightens the senses.

I am thinking now of how this applies to the "polar opposite" style. "How long does it take you to get that just-out-of-bed look?" No joke. Don't people actually work at this? Pay a hairdresser to give them the messy look? If it's what you're going for, then do it up right!

Yes, just take pride in your appearance. Respect yourself, and your audience will in turn.

Discussion: [http://bose.infopop.cc/eve/forums?a=tpc&f=6806048934&m=8511006515&r=8511006515 Dress for Success]

== Eye Contact ==
Note: this does NOT apply to most examples of dialogue driven dramas, but rather to musical performances, lectures, and other "presentation" forms.

We in the audience want to believe that you are performing to US. That you notice us. That you care about us.

Conversely, when a performer never makes eye contact with his or her audience we wonder if he or she is only performing to him or herself.

By this we do not mean that we think these types of performers should ALWAY or MOSTLY make eye contact -- that would be distracting to many. (Eyes rolled up into the head during a particularly ecstatic solo is something we also enjoy.) We simply mean to encourage frequent eye contact.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/7431017515 Eye Contact]

== Flashlights ==

We're amazed when we see a performer without a pocket flashlight. It's like a chef who forgets to bring a knife.

A good light is indispensable on any stage. Frankly, a good light is indispensable in life.

Although genuinely dorky looking, we cannot argue with the exceptional benefits of the new class of LED headlamps, marketed mainly to hikers and outdoors-people. Fundamentally, they do two things that a handheld light does not: 1) they free the hands and 2) they're easily aimed onto the work at hand. Some, delightfully, come with a red LED option, something that the truly professional stage professional knows is essential for working on the stage during a performance.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9721054515 Flashlights]

== Game Tapes ==
It is often horrible to listen to or watch a recording of one's performance.

And that is just the point. In the horror comes the insight on how to improve. As a result, we can not recommend this technique more strongly.

Why wait for a loved one or close friend to tell you what is so obvious to others? You unconsciously put "ums" in your speech when you're answering a question from the audience, for example, or have an annoying habit of flicking your hair or sniffing between songs.

Avoid conspicuous recording apparatuses. They can change audience reaction and obscure sight lines.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/3431054515 Game Tapes]

== Glow Tape  ==
We believe glow tape may be the greatest thing since pop-up Kleenex.

There's almost nothing scarier (or tackier) than seeing a performer grope and stumble around a stage because they can't see where they're going. For a performer, tip-toeing around a dangerous stage can produce unwanted anxiety just when it's time to concentrate on the performance.

Glow tape is a wonderful invention used extensively in the professional performing arts. It's used to mark steps, the edges of audience sight lines (so that performers waiting in the wings are not seen by the audience), as "spike marks" for set pieces, and more.

We believe that every performer's "stage kit" should include a small roll of glow tape and a small set of scissors so that in a pinch he or she can "mark their territory" when necessary.


Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2421054515 Glow Tape]

== Green Room ==
Ken-at-Bose<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2751069215?r=2751069215#2751069215 Ken-at-Bose The Green Room]</ref>

The Green Room;
A green room is a room in a theater, studio, or other public venue for the accommodation of performers or speakers when not required on the stage.
-- [http://en.wikipedia.org/wiki/Green_room Wikipedia Green Room]


Here's a link to the full [http://en.wikipedia.org/wiki/Green_room Wikipedia] entry for Green Room which contains a fascinating discussion of the mysterious roots of the term.

We think performing artists need and deserve "a place of their own". In many venues this place must be improvised but we feel it is essential nevertheless.

Many times, the venue operators will say "oh, we don't have a dressing room". But often times, if you quietly scope the venue you can find a quiet place not far from the stage that if you ask can be used as a private place.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2751069215 Green Room]

== Hydration ==
The stage is a very de-hydrating environment.

We recommend that you keep hydrated all day before a performance.

Avoid sudden hydrating before the show unless you have breaks planned accordingly.

When we are dehydrated we are not at our best -- a fact proven in many studies. It is also not good for general heath.

If you must sip from plastic water bottles of water on stage do so discretely, for example during the initial applause after a song. Sipping from a bottle when the audience's full attention is on you -- for example when you are talking between tunes to them -- is often awkward for the audience.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/3211010315?r=3211010315 Hydration]

== Larger Than Life ==
Sometimes, when we see a performer backstage or in the wings, they look "larger than life" or even a little garish. The makeup may look overdone, or the clothing too, well, big.

But there's a long tradition in the performing arts of compensating for the emptiness of the stage and distance of the audience by exaggerating wardrobe, makeup, hair, etc.

We know a performer who has special shoes for playing. He's a frontman. And the shoes are BIG -- way too big for his feat. And yet, when you see him on stage, everything's in proportion. He takes the shoes off after the show and would never wear them to drinks or dinner. They'd stand out as odd.


Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9781009415 Larger Than Life]

== Less Is (often) More ==
We find it uncomfortable to keep audiences in their seats for more than about 45-60 minutes and we find performing artists often going over this limit.

Audiences need time to stretch their legs, get a drink, go to the restroom, and talk.

Artists too need the break.

We think intermissions should be brief and crisp. Audiences should know when the next set will start, either by a friendly flashing of the lights, or an announcement of some kind.

We are wary of the artist that has much more to say than the audience member can absorb.

We note certain infrequent exceptions: when the audience/artist is in rapture and you can hold them there, time does not matter.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2711042515 Less Is (often) More]

== Liquids on Stage: Ground Your Liquids ==
We cringe when we see performers and technicians place open containers of liquid above ground level when there are mission critical electronics below.

If you must have an open container with you, place it out of the way on the ground. Imagine what would happen if it were to spill and if you don't like the consequences, move it to a safer place.

Use a closed container whenever possible. However, if you are an entertainer, avoid "taking a swig" from a bottle with your face to the audience. It can appear uncouth to some. Turn your back, or keep your bottled refreshment upstage and out of the light. Cups are more dangerous in terms of spills but the body language of drinking is much more favorable.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/7811054515 Ground Your Liquids]

== Making BIG Mistakes ==
Not unlike the "Game Tapes" Thread under this same topic, in order to be your best, you must always put it out there. Don't be timid. I believe that almost all of your success is dependent on confidence. From that stems "the rest".

This is especially true in rehearsal. Go for it! If you're not sure of a note, so what? Get it out there so you can actually hear it, then you can fix it. Maybe you don't know how. If nobody else can hear your mistake, then they can't help you either.

If you make a mistake during a gig, don't linger on it. GO ON! You'll screw up something else to be sure if you think about the last mistake. Of course, if you are confident in what you are doing, you'll no doubt sell it, and your audience won't know anything was wrong.

Get in the habit of making big mistakes. They'll be much more noticeable to you and more quickly fixed.


Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/1271074515 Making BIG Mistakes]

== No One Loves You When You're Down and Out ==

We as audience members usually have a negative reaction when a performer apologizes for "having a cold" or "not feeling my best tonight" or whatnot.

We've come to the performance in the hopes of entering into the paradise of the transcendent experience of the great performance.

We do not want to feel that maybe this won't be that performance. Hearing about performer limitations does just that.

In the professional theater, the only announcement that's ever made on this subject is the rare case where an artist simply can not perform and an understudy is brought in with minimum fanfare.

It is natural at times to cough, or even sneeze, especially when one's got a bug. Do so discretely and call no additional attention to this normal human need.

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/2161086515 No One Loves You When You're Down and Out]

== Packing Your Own Parachute ==
We've learned that it's always worth the extra effort to quickly set up your rig before you leave for the gig, then pack it yourself so that you are almost guaranteed that you won't have left anything and that things will work on the gig end.

We call this "packing your own parachute" -- an old term from the military used in the literal sense. If your parachute doesn't open, whom do you have to blame?


Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/6771009415 Packing Your Own Parachute]





== Scouting the Venue ==
Ken-at-Bose<ref>[http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/9051069215?r=9051069215#9051069215 Ken-at-Bose Scouting the Venue]</ref>

Whenever possible, I try to scout a venue before the day of show. I've seen so many train wrecks because problems are discovered without enough time to deal with them.

A stressed out artist is unlikely to perform his or her best.

Scouting allows you to meet the people with whom you'll be working. It allows you to do obvious things like scope out the stage and the AC power. To look at the lighting.

And it allows you to get the gestalt of the place. As an artist, you can begin to think about what things you might do in the performance to take advantage of the venue.

If you can not scout the venue in person, scout it on the phone. If you're the organized type, use a list of questions to be sure you get as much valuable information as possible. If the venue has a website, scout that, but we feel this is not a substitute for a live conversation with someone who works at the venue.

If you know other artists that have played the venue, ask them about it.

=== Questions for the Venue ===
See: [[Scouting the Venue]] for a separate page suitable for printing or if you want to add to the questions that appear below.
{{:Scouting the Venue}}

== Setting the Stage ==

Discussion: [http://bose.infopop.cc/eve/forums/a/tpc/f/6806048934/m/4081035515 Setting the Stage]What you do to 'set the stage' for your performance?

I am asking about anything that you do to prepare the audience for your show.

I am careful about the visual impression. In smaller places there can be artwork, kitschy decorations, light streaming through a door to a storage space, and the occasional mop handle intruding on the scene on stage. I try to clear all of that out of the way, or at least be aware of what might be peeking out from behind my head. I've played in front of some pretty strange artwork and the visual impression of some goth creature glaring down at me from behind was completely incongruous with the music.

Taking control of the aural experience (playing your tracks through the L1™ before you start) seems like a great idea. It certainly beats gesticulating wildly and mouthing a plea to turn down the stereo at someone behind the bar. But it also seems like a good way to set the tone of the room. It is so clearly different when the music is coming from one direction or another. Having the music come from your L1™ just makes so much sense. So does choosing the music that you will follow.

In places with small stages, there may not be any controllable lighting. Do you bring any with you? I've noticed that LED lights looking relatively inexpensive, cool, and lightweight. Anybody using something like this?

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[[Category:Succeeding in the Performing Arts]]