Eye contact

[Stephen Whiteside]

An interesting point popped up on David's thread about his new videos - the question of eye contact.

It's not something that gets discusses specifically very much, but it is probably very important - a bit like footwork for a batsman, perhaps.

David made the point that eye contact is important for a humorous poem, but not so much for a serious poem. I can see the logic in that. You often see singers sing ballads with their eyes closed.

When you are performing your poems, you are 'selling' so much more than just your poems, aren't you. There is the whole question of your dress, your body language, etc. People are judging your pesonality as much as your poetry - probably more so. Do you seem to be comfortable in your own skin? Do you come across as intelligent, compassionate, imaginative, whatever? In short, are you 'entertaining' (whatever that is...)?

Eye contact must be a very important part of that mix.

Often the banter between poems (assuming there is any...) is the most revealing, and your best opportunity to engage your audience. Eye contact is particularly critical then, I suspect.

I've heard Jim Haynes talk a little about this. He made a comment once (I think it was him) that he tried to look briefly but directly at everybody in the audience at least once during his shows. That's a lot of work, but for that special moment, you feel as if he is performing for you and you alone, and if he can notice you for one moment, then he is aware of you for the whole show, which makes you feel rather special - which is, of course, how we always want our audiences to feel.

Any thoughts?

[Bob Pacey]

I pick out a few people in different locations around the audience and that allows me to scan the audience without breaking the memory cells. If I find someone who needs work eg a grouch i sometimes focus on them to get till I get the reaction I want but I find their freinds will sometimes do that for me ?? LOL


Always try to find out the mix of people if I'm doing something private and adjust the material accordingly.

A good discussion point Stephen.




Bob

[Neville Briggs]

Stephen, Interesting that you should mention Jim Haynes in this context.

I did a performance workshop with Jim Haynes, he told us that he prefers to work to " the black " that is, he stands on the stage with strong lighting onto his face and the audience is unseen to him. So in that case the audience perceives eye contact like you said, but in fact it is only one way, Jim can't see them.
I suppose it is the same for people performing to a camera.

I have done the " to the black " once, I found it extremely difficult. Without being able to see the audience response made me feel very uncomfortable.

I guess the choice depends on the performer's style.
In my case it doesn't matter anyway, I'm not much of a performer.

[Bob Pacey]

Yes Nev Jim is right doing it that way is a lot easier, I did a performance prior to The man From Snowy River show at the rocky showgrounds for Beef 2012 and although there were over 3000 patrons I could not see any of them but they could see me on the big screen. Was a buzz but not the same as twenty people up close and personnel around the campfire.



Bob

[Heather]

I recited a poem for the first time at Tamworth last year in front of about 60 people. The reason I wanted to learn to recite rather than read was so that I could have eye contact with the audience. I remember reciting Another Day (Matt Mcloughlin) and seeing Glenny in the audience and making eye contact with her when I had corrected something I had been doing wrong (she had pointed it out to me) and I remember the recognition by both of us and how good I felt about it. I like having eye contact.

Heather

[Stephen Whiteside]

Yes, I'd forgotten about 'in the black'. I have done it a couple of times, but I've never heard it called that before, and I don't think I've ever spoken to anybody about the experience - well perhaps casually a couple of times.

The most memorable time was when the State Minister for Conservation booked me to do a kids' show in a national park after dark, about twenty years ago. I was put in the back of a car, driven off into the darkness, and taken out of the car to a stage with lots of bright lights pointed at me. I was aware of being surrounded by children in an outdoor amphitheatre of sorts, but I couldn't really see them properly. When it was all over, I was bundled back into the car again, and taken back to my own car. I had absolutely no idea where I had been.

I think 'in the black' is easier in one sense because the audience don't expect anything from you in terms of intimacy, but there is also a cold, rather robotic quality to it all.

[Glenny Palmer]

...''in the black''...erk! First time I did that I discovered afterwards that I'd been making marvellous eye contact...with...a wheelie bin! Trooo! During my 'apprenticeship' someone of experience (I forget who ) advised looking at a person's shoulder rather than directly into their eyes. That's not a bad learning technique, & to start with it worked well for me, as I am inclined to be easily distracted. Actually completely distracted & off onto some unrelated tangent I fly! But further down the track it became much easier when you relax into your performance & just treat it like you are conversing with a normal group of people. Much more fun that way...for all involved.

[Glenny Palmer]

Dear Heather. I always try to urge...Don't ever say ''what did I do wrong?'' Rather...say ''what could I have said, or done, differently?'' That is being much kinder to yourself, & is far more productive. BTW, you did a beautiful job of Matt's sublime poem. In fact I think your rise to greater heights actually began on that day.
xx XX

[Bob Pacey]

I've got nice eyes ? Just gotta take my hat off so you can see them ??


Robbre

[Heather]

Glenny I was pronouncing a word WRONG and sometimes wrong is just wrong! (or maybe we southeners talk different to you lot!) I remember a buzz of recognition in myself that I had pronounced it correctly after practicing for months and doing it wrong!

As for the poem - (my favourite) all I could think about was doing it, and the poet who wrote it justice. I felt a huge responsibility to do that ....and I remember when I started to get into the groove of the poem and started to actually relax (and here I kick my leg out to the side!) and the poem took me to that place and I was there - in it. I can only hope I took others there too.

Heather

Yeah, we do talk different, ay!

Heights worry me Glenny because there's further to fall.....