Steinway Hall-Part 2

Last night’s posting (Steinway Hall - Part 1) about the gifted Laura Garritson got me to thinking. I suppose if you haven’t read that one yet, you might go there first. It got me to thinking about greatness in performance.

As a young man I came to New York to study acting at the Neighborhood Playhouse School of the Theater. There I spent two intense years under the tutelage of world-renowned teacher, Sanford Meisner.

There I learned to act, but interestingly enough, I’ve always liked to say that it was there that I learned more about composing music than anywhere else. At an acting school. Had I ended up being a sculptor, I really believe that this acting school would still have been my high point in study.

It was there that I learned what makes an artist tick – an understanding of the reality of doing. That acting is reacting. To act before you think. That there is no indicating in the reality of doing.

It was there that I found my inner sense of emotion and experimented with and finally figured out how to bring myself to my art – whatever the medium. It’s something I’ve thought about and taught all these years since my student days.

The other night with Ms Garritson, my student days simply continued. I doubt she’s ever been to acting school. After all, when you master both the violin and the piano in 25 years, who would have the time? It always brings a smile to my face when I see someone who has accomplished so naturally what I’ve spent all this time learning. I’m not jealous. Rather I’m excited and proud of our human and spiritual abilities to grasp so fast the fundamental.

Most people grow up with terrible misconceptions of what performance is. Moms and Dads push children into so many bad habits as they encourage them to find their greatness. It’s not Mom and Dad’s fault. They don’t know any better, but many artists spend much of their time trying to break bad habits developed when young. Occasionally, either because of good teaching or simply a natural understanding, young artists come through the learning process unscathed. But I digress.

When one achieves a certain level of technical performance, the ability to perform the tasks of one’s art mistake free, then greatness becomes possible. But we all know that a mistake free performance does not ensure greatness. The mastering of the technical is only half the problem. The mastering of the reality of doing is the other half. Hopefully, in the best of scenarios, it’s a balancing act – a balancing act between the technical and the emotional. If one half is developed far beyond the other, there are always problems.

To be a great technician, but not have the ability to pour your emotions through your work makes for art that comes off ‘intellectual’. To do the opposite is to simply lose the confidence of your audience no matter what the art form.

The other night I watched this young lady work with this proper balance. She stood out because of the balance; whereas the others lagged behind somewhat because of their relative imbalances concerning just this issue. I’m not saying that Laura played perfectly and with total emotional focus. I’m sure she would agree with me that she has some growing to do on both counts. There’s always a way to go on the growth scale no matter how great the artist. But she balanced the two on the level of her abilities at this time in her career.

And that balancing allowed me to trust her in the moments of her performance so that I ceased to be the audience, the observer, the watcher. Instead, I left my seat and joined her in her exploration of the music. She took me on the ride. She allowed me into her soul and filled the space with her artistry. Her craft was solid and so I did not have to worry about her making mistakes and her emotional commitment was balanced so that, again, I did not have to worry about her reality of doing.

Consequently I was able to become completely absorbed into the performance. No need to analyze, no need to pull back and protect myself from the abuse of mistakes, no need to doubt. Because of the totality of her commitment, I too could commit to my part of the performance — to be a totally absorbed listener.

And so I did. But it was really she who did. As I said, I just went along for the ride. It was only afterwards that I began to analyze what had happened there in Steinway Hall. It’s why, when Laura Garritson finished, I stood and applauded. I had already left my seat minutes ago.

~ Peter Link

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and information about Peter Link, please visit Watchfire Music.

On Fame

“I always thought I should be treated like a star.” - Madonna

“Fame is fickle and I know it. It has its compensations, but it also has its drawbacks and I’ve experienced them both.” - Marilyn Monroe

“Now there is fame! Of all — hunger, misery, the incomprehension by the public — fame is by far the worst. It is the castigation of God by the artist. It is sad. It is true.” - Pablo Picasso

If you fail to succeed in any case, it is because you have not demonstrated the life of Christ, Truth, more in your own life…” - Mary Baker Eddy, Science and Health

I find it interesting to note that Mrs. Eddy says nothing here about money, glory, good reviews, or fame. I personally have experienced all four of the latter, and I can’t say as I have gotten much of anything out of the four. The money, I spent — the glory, only served to confuse my ego — the good reviews, no matter how good, were never good enough, — and the fame — well, let’s just say, “it was all a bit on the hollow side.” in fact, let me tell you my favorite story about fame.

In the early part of my career I was working in New York as an actor– performing the lead role in “Hair” on Broadway at night and doing a leading role on CBS’s “As The World Turns”, better known as “As The Stomach Turns” during the day. I received several hundred fan letters a week, was on the Johnny Carson show and the Ed Sullivan show, was recognized constantly in the streets and generally badgered and harangued whenever I went out of my apartment for autographs and interviews with the media.

“Hair”, at the time, was the hottest production on the planet and just across 47th street Dustin Hoffman was starring in “Jimmy Shine” having just leaped to stardom in the hit movie, “The Graduate”. They cordoned off 47th street every night to cars because the street would fill with fans of both “Hair” and Dustin.

So every night after the show I would take a deep breath at the backstage door, then as the doorman opened the door to let me out, I would run pell mell through the hysterical screaming mob of teenage girls while they, for some reason, would try to grab me and tear the clothes off my back. Because I was also known from television, the decibels would rise higher as I scrambled through the crowd. Then I would out-run those frenzied females a half a block down 47th Street towards 8th Avenue as they chased me down the street.

8th Avenue was an entirely different story. It was just another New York street. The mob would not turn the corner; they would not leave the lights of Broadway. And so I would run around the corner, stop, and stand and wait for the bus…

To me, that ’s fame. I believe it was Andy Warhol who said, “in the age of television, everybody would get to be famous for 15 minutes.” For me, it was a half a block.

“Fame is proof that the people are gullible.” - Ralph Waldo Emerson

“A celebrity is a person who works hard all his life to become well known, then wears dark glasses to avoid being recognized.” - Fred Allen