How can you explain that dancers that don’t fit certain visual standards are considered unsuited for Ballets where Form is privileged, while dancers without any acting skill are considered suitable for ballets where Content is more important?
Has Ballet definitely given up on being a performance Art?
Is any flawed performance accepted, as long as physical standards are obeyed?
Absurdity… you see performances that, if not for the costume, could be of any ballet! Solor undistinguishable from Ali, Desire identical to Franz, Colas plus a guitar becoming Basilio… Aurora with feathers in Swan Lake, clad in red in Don Quixote…
Even this, however, is not so bad as having Giselle identical to Juliet and Margherite… or Franz as unpleasant as Prinz Rudolph!
There are nowadays so many kids with incredible skills, considering their age! In my FB Timeline, a pretty quiet one, I see several a year. They all, surely, have an unexpected skill… but will they all become great artists?
Every time I see one of them, usually with hundreds of thousands views, I feel pity: brought under spotlights by their proud parents, they are now under the scrutiny of the world.
They will become very aware of themselves, freedom and innocence about their work fading away before they are ready to deal with flatter and the limitations of every human being. They stand out amazingly against the average in the beginning, we cannot help by cheering them… there is unanimity, because their youth makes us forgive them for not being “perfect” (whatever our particular definition of perfection) – oh, they have time, one day they will be all we wish!
With great expectations coming from far and near, the child’s own expectations will grow.
They are at an impressionable age, and their identity develops tied to their skill and the decurring success … and may be badly shaken when they grow up, when their age is no more out of sync with skill level – the high winds of success turning into a sedated breeze… or vanishing for good.
Young prodigies are very often overexposed – now with Internet, an extreme exposure – and live in a bubble of success doomed to burst when entering adulthood, or, better said, THIS component of their success is doomed.
I wonder if they, their parents and their eventual agents realize it is a bubble… I have seen, far more often, a naïve belief that the child’s success is a small sample of all the acclaim that will surely keep increasing as age increases too.
Artists and success…
Now forget early talents. Any great artist may have success, but will seldom be unanimity – one feature that distinguishes a mere artisan from the artist, is that the latter is unique, individuality is always fierce – dividing people’s opinion.
Some will love, some will find impossible to like. Praise may increase during his lifetime, as his work matures – but if he is of the rule-breaking kind, critics will come along praise, and they may be as sharp as praise is warm.
Great success may come or not, and may or not depend on actual talent – more often than not, nowadays, it depends on luck, on shifting fashion, on the degree of exposure. Great success never was, is, or will be an adequate measure of real artistry.
Now add the two… … and we have bad news!!
Oh, not necessarily, but in most cases! Well known artists, especially in Performance Arts, and especially when young, come to rely on their audience’s response…
Only, there is a massive withdrawal of praise when a gifted kid grows up – just because the out-of-sync component is gone – now he/she is an artist as any other artist, that will not be forgiven anything more because of age – now he is expected to come up to “my” expectations (whatever they are). If he does not, “I” will be VERY disappointed, I may turn from an admirer into a critic – if I had never been interested and idealizing, it would be different!
The young talented adult sees himself no more in the top of the mountain – even if it was not easy to keep balance there, he had felt it as his own already. He slides down to some place he is not used to, where he is definitely not comfortable – the change in one or two years is so great, it may take away his drive, and balance, and self-esteem, make him doubt himself.
He may try to come up to all the multiple expectations and idealizations, and loose himself and his creativity while seeking to regain former levels of acclaim – not realizing it may never be reached again, and should not even be further sought. He may receive unexpected attacks, scorn, and dismissal, and be utterly unprepared to deal with them. He may feel as the victim of an unfair world. He may enter in denial. He may simply give up.
The change is too great for some, they never recover, and their Art is lost in drugs, unbalanced behavior, in aggressive attitudes that turn away fellow professionals and public, in neurotic disorders. I have seen too many young prodigies that were unable to unfold as adult talents – such a loss for all of us!
On the other hand…
The first years of adulthood may be hard, and suffering inevitable, but some, fortunately,
survive to be greater than ever – those that don’t feel sorry for themselves, that learn to respect their inner voice more than any external opinion, that learn to deal both with bad critics and unreasonable idealizations – if they are graced with any level of empathy, comprehension of what happened to us and to themselves will just enrich their work.
Anyway, it is now that their real artistic life can begin, because paradoxically, now they will have more freedom and will be able to reach new depths… now, having got ridden of the youth label and all that came in its wake. Now they are just, and at last, what they are… and this is MORE, not less!
All in all…
Sometimes it is inevitable, some talents are so great they stand out at a tender age already, no matter what. But all in all, I wish parents were wiser, and more aware of the consequences of bringing their talented children under the spotlights – or, if it can’t be helped, that they would be wise enough to prepare them for the bubble bursting process.
Everything in Ballet must happen so fast! Dancers have nowadays a terribly short active life, in average, less than 20 years of actual dancing! So all are in a hurry. Dance competitions bring us a few precocious talents every year. A few of THESE rise meteorically, and are just 19, 20 years old when they arrive “at the top”: a principal in a big company – by that time, they are already world famous! And then what? They have suffered/will suffer incredible, ever increasing demands from their public, and are even more prone to early injuries than the average dancer. AND also grow up, no matter what.
Right now, we have several young prodigies at some stage of their transition period: choreographer Justin Peck, dancers like Misty Copeland, Ivan Vasiliev, Sergei Polunin are well known examples,. I hope they all grace us with long active, fruitful lives – in the History of Ballet, you find pretty few like them before.
To be a ballet professional was never as hard as it is nowadays, and even so, I have big hopes in some of them – in some… more than in others! Future will show if I got them right!
One of my recent posts was about the wildly different expectations that different kinds of audience have when attending a ballet evening – that explain why so many leave necessarily disappointed. Now, I’m addressing a certain kind of audience, MY kind, most of all – the premises being: good acting is important, body-language is important, meaning is necessary – technique must be subordinated to them.
Different from theatre and movies, where natural, life-like acting is used almost 100% of the time, in dance there are many choices.
No acting at all is the first of them – and the strangest one for me: that a performance art should give up meaning, that dance should give up body-language, and become just pure form!
Then there is formalistic acting, more than one kind. The traditional one is grounded on century-old mime, and looks very strange to me, but has fierce fans. More modern kinds are used mostly in contemporary dance, usually a choice made by the choreographer himself, and I can see their value, even if it is not the kind I like most.
And finally believable acting, of course, the kind that “suspends your disbelief” – the only kind I consider GOOD acting, and the most difficult one.
So there are choices to be made by the choreographer, or even the artistic director, and then by the dancers themselves. I always hope they choose the kind I prefer – that theatre and movie actors prefer -, but there are so many obstacles to see my wish fulfilled!
In the great Ballet Schools acting is part of the program, but not a central one, it remains far, far, very far behind all-important physical technique – with special care to traditional formalistic mime. A dancer with natural acting skill is always in danger of having to un-learn intellectually what he already knew instinctively…
The training in Contemporary Dance Schools and in Performance Arts courses in universities is a lot better, but aimed mostly… at Contemporary Dance, of course! And for all I have seen, emphasis is on expressive choreography (a good, very good thing, by the way!). So what about the classical trained dancers?
Needs x requirements
There are so many dramatic ballets, by so many important choreographers: Tudor, Ashton, Balanchine, Jerome Robbins, MacMillan, Neumeier, Liam Scarlett, Grigorovitch, Ratmansky, and on it goes… These ballets deserve good acting! These ballets NEED good acting!
But acting skill, and I mean GOOD acting, is NOT a real requirement when selecting, promoting or hiring a dancer – again, physical technique is far more valued!
When it comes the moment to perform, however, all expect (at least the audience does!) the dancer will know his acting! What do dancers do, then? Try to be the best they can, learning maybe from his fellow-dancers or by themselves… not an easy task, either way – his fellows are at a loss just as he/she is, and learning alone has limited efficacy and is time-consuming.
The traditional Standards
Many dancers complain of the tight acting standards they must obey in the big companies, that go from a prescribed way of acting to an open disapproval of any display of individuality.
This is a tough one, that wastes the rare natural acting talents in roles that do not require acting, and also the contrary, using in dramatic roles dancers that do not have (“my” kind of!) acting skill. A real shame!
There are several kinds of audiences, with different expectations on acting. Choreographers, coachers, dancers, artistic directors, when they make a choice, are also choosing the kind of audience they will be addressing – it is impossible – read that again, I beg you: it is IMPOSSIBLE – to please all of them at the same time! It means that, if we ALL keep attending ALL kinds of performance, THEY must know they will certainly displease many of us… an uncomfortable trap!
When a dancer is cast in a dramatic role, and willing to make a good job, he/she has challenges to win that are intrinsic to acting.
To make a character believable, it must be coherent throughout the play, and, at the same time, full of nuances – no matter what kind of character. This requires a deep understanding of the human being, and great empathy, to perform even someone the dancer is not, or does not feel like.
He must also grasp what the choreographer, and the artistic director, intended from his character, and incorporate these intentions to his own interpretation.
The role he creates cannot exist alone, it must interact believably with the other roles in the play – may the other dancers be good actors, too, or not!
The dancer is not acting in front of a camera that can show the slightest tremor of the lid – he must reach down to the last rows – and THIS requires great skill!
He/she must be able to create on-the-run empathy, to feel how we-seated-there-in-the-dark are reacting, and make us follow, feel with he wants.
And last but not least, he/she cannot be self-conscious! On stage, an actor cannot be Mr. X making a careful performance of Macbeth… he must be Macbeth himself – as a dancer cannot be Mr. Z performing Armand, he must BE Armand. When acting is good, you forget about X and Z, and see only the role. Not an easy feat… careful, self-conscious performers as most dancers are!
All this challenges, of course, must be faced while making a great display of balletic technique, caring for the partner, finding his cues and place on stage, following the music…
Is it not incredible that the acting of some dancers, despite all that, is able to blow me off my feet? More than that, is it not incredible that some of them blow me off my feet, not at the expense, but while displaying great dancing?
Some of them are as good in dramatic as in comic roles, like amazing Alessandra Ferri, or great Manuel Legris… Some of them are as good seen from afar as in a close-up, in fact good enough for an Oscar (now I’m thinking of Alina Cojocaru)…
They are ALMOST inexistent in the triangle USA/Russia/England (I’m sorry to say that, but it’s true!), most dancers who are also good actors come from France, Germany, Spain, Latin America… a handful of them nowadays, no more – with so much obstacles, if the dancer hasn’t natural skill, and a persistent drive to use it, he is doomed.
In the newest generation they are even rarer, especially in classical ballet. It is not surprising – nowadays Form and perfect physical technique are valued much higher – overrated, I would say – and not only in Dance, it is a wide-spread characteristic of modern society! Content? meaning? well, so long it does not overshadow technique, it may receive some attention…
The greatest exception between the younger ones in Triangle of Bermudas of acting is Ivan Vasiliev, the only one of his generation to cope with the whole array of acting challenges from the start, with flying colours. He is able to bring life and meaning to any role, tragical or comical, from Czar Ivan, The Terrible to Colas in La Fille Mal Gardée – besides having a wealth of other qualities.
He must make deliberate choices about each of his perfomances, because the outcome is always unique and specific, deeply coherent in both the dramatic and technical dimensions of the role.
Ivan Vasiliev, of course, is not unanimity in the audience, as no other dancer is – one could not expect THAT with so different kinds of public. Maybe he is aware that the choices he makes will please many of us, but not all – those like me, luckily, seem to be priority number one in his book!
I wish more of the classical trained younger dancers were like him…
After all, concert dance is a Performance Art! Or is it possible to disagree even on that?
Dance was the first great passion in my life, but even when I was part of our Dance community, little information about what was going on “there, where it matters” reached us – if at all, with great delay. We were just too far away, and Communication Age had not yet begun. I was lucky, I had teachers that were ex-dancers that had gone abroad and eventually came back with solid knowledge and great technical skill, but this happened so seldom, less than once in a decade! All I knew by then was pure classical (the most contained, severe English style!) and Martha Graham. When I gave up dancing, I kept the greatest possible distance between me and all that concerned Ballet, by my own choice – a kind of Dance “coma”…
I awakened to a “new” world, a world I had not been aware existed.
I was searching YouTube for classical Music works that had never graced the shelves of my city’s stores, when I linked to a piece that was just score to a ballet. BALLET! I realized, for the first time, that I could now see ballets, performances, dancers I had only heard about before – and was suddenly overcome by an urgent longing for Dance. I started with Martha Graham, and went on on suggested links, Paul Taylor, Pina Bausch, Twyla Tharp… Awesome! I remember clearly my amazement, as I realized all that had happened during the time I had been “away”.
Eventually I clicked on Lar Lubovitch’s “Othello” staged by San Francisco Ballet, Desmond Richardson and Yuan Yuan Tan as principals. I was mesmerized! So beautiful this blend of classical and contemporary, so different from all I had known, the richer choreography, the amazing male roles – these men were REALLY dancing! And choreography and dancers were all so deeply expressive! I watched it three times in a row before I could go on.
I went on to Othello’s PDD danced by Marcelo Gomes and Alessandra Ferri. WOW…! Until that moment, all I knew about him was that he is a Brazilian ballet dancer who succeded abroad. I searched more.
Two more days with my eyes glued to the screen, and I knew ALL about him and Alessandra I could get on the web: clips, interviews, pictures, reviews. Marcelo Gomes led me next to the Kings of the Dance.
I clicked on Labyrinth of Solitude.
I had never seen anything so beautiful and heartbreaking before. It was so overwhelming I stopped all I was doing , and went for a walk to think about what I had seen. My life had suffered a division: there is a before and an after Labyrinth.
THIS much meaning, feeling, power could be conveyed through Dance!! I knew, back from my days, that for those who dance, it can be a deep sensorial and emotional experience, but I had been also sadly aware that this experience was not extended to our audience! A Ballet evening was just a sophisticated event that people with cultured tastes felt obliged to attend, but the moment the curtains closed, they started talking about where to have dinner, the stock market… – had that evening existed or not, nothing was changed.
But THIS! this was something else. Labyrinth had blowed me off my feet! Not as a dancer, but as audience. And not in a theatre, seated in the dark, magic flowing from a lighted stage, but at home, my pets fooling around me, phone ringing, – on a 14″ notebook with awful sound quality…
It became my favourite work, and a sort of standard. I like everything about Labyrinth. The theme; the music (Vitali, strange composer, who created this one sweeping, emotional score 150 years ahead of his time…); the way it is danced by Vasiliev, believable and intense; the absence of settings and costume; De Bana’s expressive choreography, and how he blended all of it into something that was more than the sum of parts.
After gathering my wits back, I searched further (my ethernal gratitude to YouTube’s inventor!), and started to identify which choreographers and dancers had been – and are now – responsible for this new (for me) richness. I knew several by name or a rare photo, but had never SEEN the real dancing, believe it or not! My personal “hall of fame” became a mix of active and retired professionals, even some long passed away – problem is, they jumped into my life all at once, it took me some time to correctly locate them in space and time – they were all very “here and now” in my mind – they still are, and I like it that way.
I fell deeply in love with Dance again, more than before. I saw, at last, Dance becoming an Art like her sisters. THIS was what Dance should be, anyone could appreciate, could love it now, men and women, young and old, expert or not. Anyone should be given the opportunity to experience its power, everyone should be exposed to its magic: I had a Quest!
My other projects (I always have too many, anyway) became less important, as my knowledge and awareness grew steadily. I’m fortunate that I can now, as never before in a too busy life, open my door and let Dance and Music come in and make themselves really comfortable in me. (only problem is, I suffer from fits of goose-bumps at an alarming rate nowadays).
The Quest means no hard work at all: I use it as an excuse to write about beauty and art gifted people create for us – giving Dance some thought while I write – not as an expert, but as the grateful receiving end, and then throw it in the wind/web, hoping it makes a difference, even the tiniest one, in bringing Dance closer to a wider audience. The other task is to win people around me over… making them some pleasure, too, when I succeed. Is that nice or what?
I’m having trouble feeding my blog, because I have so many issues dancing (!) around on my head… I’m writing about all of them at the same time, and nothing is ever ready to post! I’m so confused I posted THIS before it was ready, sorry!
Issue #1: the recent episode of Bolshoi x Stanislasvski conflict involving Ivan Vasiliev brought back memories of several similar conflicts, involving both him and other dance professionals, that often guest around the world. It made me reflect on the current ability of ballet companies to effectively cope with the changes in their reality: the increasing numbers of independent great stars; the cost/benefit of their productions; customer satisfaction; visible aging of their audience in live performances; globalization of information; the new ways (mostly digital and far from ideal, but THERE, their importance increasing as we speak) to access ballet/dance productions; the inadequate competitive attitude in a risk situation. I wonder if their funding agencies impose restrictions to effective management? It seems (lack of information!) they have, most of them, professional managers, so why are they so slow to adapt? Does that sound too businesslike? Well, it should!!! Dance companies, as every enterprise and institution nowadays, CANNOT ignore good business practices! Ignore them, nowadays, is to be doomed!
Issue #2: important dance professionals in UK complained about UK dancer’s training – they say contemporary dance schools do not prepare them well enough. On it’s wake, I became aware of information on UK’s Dance audience’s, agencies and training (I did not know where to find that, before). There is a LOT to think and ponder about here, and I follow the debate, and write to clear my ideas, and re-think, and get new information, and re-write… It has been highly interesting, but I’m still processing all these new data!
Issue #3: the general Prodigal Son Parable feeling about Ivan Vasiliev’s “return” to Bolshoi, and its consequences – there are very nice, really exciting consequences, and also, I foresee, some that may not be that nice. As always, Ivan Vasiliev has my interest as himself, but also as an emblematic dancer who raises issues that go far beyond him. There is a difficult, tense, even painful trade-off between an artist’s right and need of independency, and the means to realize his artistry – in Performance Arts even more than other kinds of Art. When I see dancers and choreographers potential unfulfilled, I long for them to find a “home” to fully realize them, but… which of the dance agencies available nowadays is willing to let them realize their potential to it’s full extent? Not a new question, and I don’t have an answer! I keep a keen eye on all agencies I can… there seems to be a great polarization: those “homes” that can afford to stage properly the greater ones, are the less bound to favour their individuality, and vice-versa! Either way, the artist looses, and WE loose!… that’s why I cannot but worry and wonder about solutions! This issue, obvioulsy, is related, but not the same, as Issue#1.
Issue #4: what is Dance about, nowadays? A recent interview of my amazing Natalia Osipova brought me once again to this issue. She is SO accomplished, I cannot imagine a more beautiful 2nd Act Giselle as hers, OR a more fiery Kitri, and the improbable possibility of a dancer to excel the way she excels in BOTH prooves her greatness! She is, however, haunted by doubts about herself, and seeks harder and harder for perfection, but to such an extent! it broke my heart…! Problem is, to be perfect does not mean, necessarily, to create magic, and she, sensitive as she is, KNOWS that, and fears that. Is perfection important to create an objet d’art? If at all, in what ways, and what KIND of perfection? When I reflect about this, I always feel Terpsichore – “the joy in dancing” – looking, very interested, over my shoulder…
Issue #5: I have a post to finish about overuse of strange – and ugly – movements and costumes in contemporary dance (that I love). I’m reticent about them, and try to explain why – just a humble, but as so often here, radical personal opinion. It involves body-language, the symbolic universe of a culture, and relates the way we see and interpret movements with words, smells and music – for now. I wouldn’t dare to question their artistic value or the creator’s need of them, but I can give a feed-back on how I receive/perceive them!
… and new issues keep arising!
It strikes me as little odd that in “other lives I lived”, in business, science, human science – and for all I can see but lived not, in other kinds of Art and every other organized human activity, issues like that are deeply important and openly and fiercely discussed… but I find so little open discussion and open opinions in Dance! I want to stand up and cry BRAVO everytime I see someone dismiss platitudes and state unconformity in a loud voice! … in good time, all these voices will grace this pages! But they are few, too few…
Ivan Vasiliev decided not to perform Mayerling. Frustrating, for both audience and himself, who had told, more than once, Prince Rudolph was a role he wanted to dance. Appalled sighs from everywhere! What happened?
From Stanislavski’s Theatre letter on Facebook:
“However, on 6 April, in the midst of the rehearsal process, just five days before the performance, Ivan Vasiliev refused to perform, thus violating his commitments to both theatre and his audience. We are deeply sorry about how some of our colleagues refer to their responsibilities and the public, and we apologize to our viewers for the disappointed expectations.”
From the letter Ivan Vasiliev publicized, explaining his decision.
“I applied to the repetiteur from the Kenneth MacMillan Foundation asking to find a compromise solution and to draw up a different rehearsal schedule that would be convenient for both The Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre and the Bolshoi Theatre and to make it possible for me to perform in the ballet “Mayerling” as well as in the ballet “Ivan the Terrible”, but my inquiry was denied.”
I may not have all the facts, but seen from far away, on the available information, this is what I see:
Two ballet companies want the same dancer at the same time. The dancer, at his own health’s risk, is willing. Instead of cooperating and trying to reach a compromise at management-level, the two companies behave like spoiled children quarreling over his time. It comes down to the dancer – who, don’t forget, wanted to dance for both – to try to sort things out, and eventually make the decision of which of them he must dump…
The Victory of Intransigency! Can you find ANY OTHER benefit from the outcome? For Stanislavski? For Ivan? For the Kenneth MacMillan Foundation? For the audience? For Ballet? A perfect loose-loose situation!
A short time ago Alessandra Ferri posted this on her Facebook Page. OF COURSE she would like the little drawing – this is what she is, someone who is always taking risks, and delving further and deeper into her artistry. She is wonderful, all I ask for in a dancer! If there is an example that all dancers should follow, it’s hers.
It was sad when she retired some years ago, and I hoped she would at least coach a whole new generation of dancers to become as amazing as she was. But she had really retired… And then, two years ago she did something that was Alessandra Ferri all over: she dared to come back, after 7 years away, when she was 50 years old.
She, nonplussed, got involved in wonderful, daring, beautiful projects – I’m grateful she constantly steps out of her own limits in search for more – and keeps creating magic for us. Now she’s working with Wayne MacGregor on a project about Virginia Woolf’s works!
Art cannot exist except in constant change, constant experimentation, constantly going beyond what IS… because that is how Life is! Art withers away, becomes empty and dry if it does not encompass evolving Life, and more than just that, goes beyond it. So I have a great respect, and a special fondness, for artists that are restless, that constantly experiment, seeking new kinds of challenge, new ways to serve their Art.
See this photo.
Are you WOWing? I’m too! That Ivan Vasiliev even DARES such a jump! I only hope he did not fall flat on his nose after this incredible moment, because I like his handsome nose! Luckily, if there is someone capable of landing nicely after that, it’s him!
Now see this short video (a few days later – and whole nose!).
Ivan Vasiliev is dancing (with Denis Savin)… a choreography of his own. I don’t know about you, but I am WOWing again! About the choreography’s value? Too few seconds, no way to know if it is good, yet. NO, this is not what I’m cheering here.
Even before I can see the whole piece, I applaud that he is trying new ways that early in his artistic life. Others did try their hands on choreography, a lot later most of them, and given their experience by then, maybe could be a lot surer about their work. Ivan challenges himself so much, I bet he is never sure of what will happen. Even so, he goes for it, and goes with all he has. Sometimes things work out nicely, sometimes not that much – and often he creates magic so powerful as to melt us in our seats. THAT is all I ask!
When he first appeared on stage, I believe a lot of ballet-lovers thought THERE was someone that could be the ultimate Perfect Dancer, and were disappointed that he never became this idealized being (even grudging him for that – badly – a problem that is theirs, not his).
Against all safety (not only physical!), against ballet’s status quo approval, sometimes against audience wishes, against a lot of opinions on his private life, his technique, his looks, his behaviour, Ivan goes his way, not unerringly, but HIS way – a road he is opening as he goes on. Not arrogance, but bravery is needed to do that. He is brave, and is doing EXACTLY what every artist MUST, and should do. The effort needed – inevitably – is making him grow all the time, if we see it or not, if we like what he is growing into or not.
I never looked for a perfect dancer, I always looked for magic-creating dancers, and for Dance’s vitality and evolution. That means that I’m not only NOT disappointed over some failed idealization of Ivan Vasiliev, on the contrary, I like the notion that he has human flaws and artistic flaws the same as EVERY SINGLE artist, dancer or not, that came before him and will come after him – ALL have, more or less, their specific weaknesses and strengths – and still, is an outstanding artist. As a fact, THIS is, in my eyes, what make artists so special: that even being imperfect human beings, like we all are, they are able to raise above mediocrity and become great, and create something special! The beauty of that notion – that Humanity, imperfect as Nature always is, is able to create Art!
I wish we could let artists, whatever Art we may be speaking of, be free to be what they are and do, and just be grateful when they create something almost too good to be true… then they could continuously try without fear of making mistakes or being “not perfect” (in all the ways different minds deem necessary)! Myself, I can certainly patiently wait, through several performances, until I hit the one that blows me off my seat! THIS one is worth all the trials, and eventual errors, that came before! There is no safety in Art, no way to secure a miracle each single time.
If artists are allowed to try and make mistakes, they eventually find THEIR way to do things, and become ALMOST a certainty of a small miracle each single time. This will not happen, however, if we demand certain behaviour, or a certain kind of skill of them, or a certain kind of performance. Artists must be free, and technique… ah, technique… must be just the necessary and sufficient not to limit them in what they want to achieve!
It is not for us to say what they should achieve, or how… we are at the receiving end, a passive end, we totally depend on them, and our efforts to guarantee a certain result always have the exact opposite effect… The most we can do is tell them how we feel when they perform – with no expectations – because if their drive to go forward is too strong, they will not be interested, not even in us. And that’s the way it should be!
We, reviewers, audience, fans, are often mighty preposterous (and silly) in what we demand of artists – as if we had the ultimate knowledge on how they should be and create. My, we know nothing about ourselves and make a mess out of our own lives, how can we be so arrogant about these special, gifted people that give us so much?