It goes as far as you want to take it, because every detail counts. I've done some long, long runs, and the ~300th performance is more interesting than the first. You get down to where you're working at the syllable level - noticing, for instance, that moving on this word, rather than that one changes the whole dynamic of the scene. You have to be blessed with a good script, and cast mates who'll follow you down the rabbit-hole, of course, but there's no bottom to it. It's endlessly interesting work, and deeply, deeply satisfying.
> You get down to where you're working at the syllable level - noticing, for instance, that moving on this word, rather than that one changes the whole dynamic of the scene.
That's an interesting perspective on performance for me as it parallels one of the aspects I enjoyed about performing stand-up comedy regularly for a time (primarily at open mics): getting to observe/analyse/theorize what contributed to whether a particular "bit" "worked" or not--both for myself and others.
For my own performances, I could choose a different word, phrasing, tempo etc and see how/if that affected audience response.
Equally, learning from observing the impact of when other performers did the same, refining their set over multiple weeks.
And, then, also seeing how other factors we had less control over (you know, such as the audience :) ) had an impact: sometimes same line, same delivery, might kill one week but got crickets the next.
Granted, my approach to comedy might lean a little more... analytical than some. :D
> I've done some long, long runs, and the ~300th performance is more interesting than the first.
Your description really meshes with my experience playing classical guitar. It takes a few months of work to memorize the piece, but then the fun begins. I've played the same piece hundreds of times. Instead of it getting boring, I keep noticing some new thing in the piece every week, it constantly feels "new." Bring out the bass for these two beats on this measure; hold this melody note just a tad longer; the harmony in these two measures makes for a great descending line, make sure the notes connect. Stuff you don't notice on your first couple dozen plays, that endless repetition starts to bring out. It doesn't work for every piece, but for my favorites, it's really a bottomless hole, like you said.
eszed|1 year ago
follower|1 year ago
That's an interesting perspective on performance for me as it parallels one of the aspects I enjoyed about performing stand-up comedy regularly for a time (primarily at open mics): getting to observe/analyse/theorize what contributed to whether a particular "bit" "worked" or not--both for myself and others.
For my own performances, I could choose a different word, phrasing, tempo etc and see how/if that affected audience response.
Equally, learning from observing the impact of when other performers did the same, refining their set over multiple weeks.
And, then, also seeing how other factors we had less control over (you know, such as the audience :) ) had an impact: sometimes same line, same delivery, might kill one week but got crickets the next.
Granted, my approach to comedy might lean a little more... analytical than some. :D
coldpie|1 year ago
Your description really meshes with my experience playing classical guitar. It takes a few months of work to memorize the piece, but then the fun begins. I've played the same piece hundreds of times. Instead of it getting boring, I keep noticing some new thing in the piece every week, it constantly feels "new." Bring out the bass for these two beats on this measure; hold this melody note just a tad longer; the harmony in these two measures makes for a great descending line, make sure the notes connect. Stuff you don't notice on your first couple dozen plays, that endless repetition starts to bring out. It doesn't work for every piece, but for my favorites, it's really a bottomless hole, like you said.