Apr
16
現代音樂會，不單已經將觀眾的行為管理掉：不准喧嘩、不准飲食、不准郁身郁勢、不准抽筋，總之但凡以前能夠的，已經都被管理掉。受高度教育的觀眾，音樂會中自我管理已然完善，就連翻閱場刊的紙聲，都構成一種壓力。接下來，觀眾期望的管理，將成一更大課題：
他的前奏曲一完，手垂下來。
弊，拍手還是不拍手呢？應該讓音樂直接過渡到敘事曲，還是鼓掌致意？他，是大師中的大師，不是少許禮貌也沒有吧？
這幾秒鐘，就是 Odd 到爆。大師或許沒有想到，一個細微的動作，例如準備站起來，又或者點點頭，又或者望向觀眾，這班受高度管理的群眾，大概會報以雷動掌聲。只是，那一刻，他沒有這樣做。觀眾如坐針氈，就是問拍好不拍好。拍，傳統之使然。不拍，好像更具教養：Pires Recital 如是，Hewitt Recital 如是…
你是不是想，大師應該管理好觀眾的拍掌位，讓這種 oddity 不在出現？
如果是的話，我只會想起蘋果最著名的 1984 廣告中的那班看電影的觀眾，你可能就是那把虛浮、沙啞、Omni-present 的聲音：
We have created, for the first time in all history, a garden of pure ideology. Where each worker may bloom secure from the pests of contradictory and confusing truths … We are one people, with one will, one resolve, one cause … We shall prevail.
Address: http://b2.denniswu.org/a/396
Interesting question…!
What if the soloist does not want any applause, but wants to take a short break with hands and arms down? Is it better to print his “request” in the program?
In Maria Joao Pires recital, the presenter (namely, LCSD) puts a clause on the house programme. The audience followed accordingly. And that was good.
But how much details are we, as performer or manager, going to control? This is what puzzling me.
The act of genuine appreciation is now driven by -
1. how “educated” you are
2. how the music “flows”
3. how the performer/presenter wants you to behave
very puzzling…
台灣鋼琴家郭以道，近年舉行獨奏會索性叫「無掌聲音樂會」，要求觀眾請勿拍掌，他也不會向觀眾行禮。讓他靜靜走出來從頭至尾把節目彈完，演出者與觀眾各自乖乖離場就是。
@Dickson
Remember there was a time when music making is spontaneous and interactive. Now concertgoing is such an activity for cultured bourgeoisie — people not following the implicit rules are effectively removed (by lots of means other than physical removal). Concertgoing is a rite.
@W
記得我們曾經說，聽完馬勒六後，最好就是指揮走回後台，讓觀眾在那個死亡後自行進開。那才是經歴擊倒與死亡！