There are many ways for a performer to communicate with the audience—other than words that is. A performer can use eye contact, body language, and facial expressions to convey a well-rounded, professional performance.
One way a performer can communicate with the audience is through eye contact. This does not always work for a group performance, however. For example, if one is performing where a group is being led by a conductor, the performer is to keep their eyes on the conductor. Always. But if the performance is a solo performance, it is important for the performer to scan the audience and welcome the audience members into the music. The performer should give all audience members attention and time in order to engage them in the performance.
Another way for a performer to communicate with the audience is to use their body language. In a group performance, the performer should always stand erect unless asked to dance or participate in some type of movement. The performer should always be focused. If a performer is slouching or looking lazy, the audience will become bored and disengaged.
A third way to communicate with the audience is through facial expressions. A performer’s face should always be alive and energized. Even when tired, even with life’s problems, the performer needs to act. The performer needs to become someone totally different. You never play yourself, even at a concert. Your facial expressions should be subtle and not over the top, but they should be visible and engaging. If the audience is bored you have failed as a performer.
I have had many experiences in performing, including plays, concerts, or band gigs. I have learned stage presence from experience and practice. It has become second nature and I don’t need to think about it anymore, but it was not always this way. It was pretty natural from the beginning but practice makes perfect.
This past summer I participated in YES Company’s summer production of Hairspray at theGalloCenterfor the Arts. Anyone who has ever seen the stage version of Hairspray know it’s a high pace, high energy show. By the time the seventh show came around, we were exhausted. But we still went out there and put a great show. We fed off the audience. Hairspray is a perfect example of using all three. Eye contact was important. Even though the spotlight was shining in my eyes and I couldn’t see the orchestra pit, I pretended I could see everyone’s eyes and I looked at all of them. Body language was not a huge factor given the fact that we were given blocking and choreography. Facial expressions and energizing movements were key to my performance despite the fact I wanted to go to sleep right there on stage.
Another example of performer/audience communication is when I sang in the loading dock behind Home Depot inMonterey. It was the worst venue of my life. I was hired to sing for a store opening and was getting paid, but no one told me it was in a parking lot. I arrived and was greatly discouraged. I, however, being a performer, gathered myself and put on a great performance. I was engaged and gave great energy. I made eye contact with the people in cars passing by and put on a top notch performance.
A final example is the time I starred in Green Eggs and Ham with the Modesto Symphony Orchestra at theGalloCenterfor the Arts. The day before the show we had one twelve hour rehearsal. One. I had to learn all my blocking in twelve hours and then go out and perform the next day. It was a success. Even in the most trying situation I was able to remember my blocking and keep eye contact. My body was tight and full of energy. My facial expressions were excited and happy.
It is important to involve the audience in a performance. Never perform the same way twice and always keep it fresh. Even when you don’t want to perform, don’t fall short. Don’t let the audience down. If you do, you cannot call yourself a true performer.
