Acting at the Piano

[toby1]

There's been a few articles on the blog about the visual aspects that playing is judged on in competitions.

I tend not to emote much or at all when I play and I've been repeatedly told my face looks blank and emotionless when I play even when it doesn't reflect my feelings. How can I learn to break those habits and play more like a Lang Lang visually?

 (I'm working on the technique)

[stoat_king]

My problem is that 'emoting like Lang Lang' has already been done. By Lang Lang.

My advice would be to closely examine the facial expressions of such old-time comics as Les Dawson or Benny Hill.
The audience will be surprised that you are packing so much circus-grade action into every note, but it'll give them something to talk about.

[bronnestam]

Practice the art of smiling.   I remember a documentary I saw once about the Russian Olympic gymnast Olga Korbut who made huge success at the Olympics in Munich 1972. She was an amazing gymnast of course, doing acrobatic things noone had seen before - and she also won a lot thanks to her charming charisma. And what was that, really? She smiled. She smiled a lot. And why? Because her trainer had forced her to do that all the time.

When you know the real story behind these smiles it may seem quite depressing in a way, but fact was that it worked. You can learn to smile, but be prepared that it will take some separate practice time which will need its time just as posture practice, pedalling practice, scale practice, arpeggio practice ...

[bronnestam]

BTW, if you can do some of her somersaults as well, perhaps over the piano, your performance will be epic ... 

[toby1]

Yes it has been done by Lang Lang. I'm not saying I want to be his clone but lets face it the average listener is judging visually as much as aurally. If I look around at concerts I've been to people aren't closing their eyes and listening they're watching intently and relying on the performer for cues about the music.

I play for me but if I want to gig I need to play for other people too.

[amytsuda]

  This is a funny thread! I am not sure if I appreciate Lang Lang acting to be honest... and if judges would....! (Despite I admire Lang Lang's relentless passion for promoting music) Bad acting would be as bad as not showing any emotion, I think.

How about breathing? I have been trying to work on my breathing. How to breathe with music and phrasing. How to play with the whole body energy. That may be more helpful than trying to learn acting

[iansinclair]

For what it's worth -- which may not be much, since I'm elderly , I simply will not watch a pianist (or other instrumentalist) who looks as though he or she has some difficulty with overall motor control.  Including the mentioned individual.

I might listen to them on the radio.

I like to see honest expression from the pianist (including, now and then, a big grin when he or she gets some fiendishly difficult passage right! or the particular performance came out really really well; they do, now and then).  I tolerate, moderately well, a limited amount of large arm motion for big chords, or a flourish at the end of a grand arpeggio or something of the sort.

If I want to see acting, I will go to a play, or the opera, or even the ballet.

But, as I say, I'm old now, so perhaps that makes a difference...

[pianist202]

DON'T EMOTE LIKE LANG LANG. People will laugh!! Try Zimerman, he emotes like crazy, but never does that get in the way of the music! You want to find a happy medium

[j_menz]

DON'T EMOTE LIKE LANG LANG. People will laugh!!

No more than if you get all shouty in a forum post.

[michael_c]

Why not emulate Benno Moiseiwitsch? He was known for his imperturbable mien at the piano:



Nobody complained that he lacked emotion, though. If you haven't heard his recording of the Mendelssohn-Rachmaninov "Midsummer Night's Dream" Scherzo, I can only recommend that you devote 4 minutes and 10 seconds of your life to listen to it. It's pure joy, undoubtedly one of the greatest ever piano recordings.

[pianoplayer002]

In my opinion you shouldn't "add" emoting to your performance. It's an unnecessary and superficial distraction from the only thing that matters - the music. Consciously making faces is not likely to help you play better either because you have to focus a part of your attention on something that doesn't have anything to do with the music. You shouldn't show the audience how emotional the piece is by making faces, but rather by playing it really *** good. For me, this is the ideal:

If a competition requires you to make Lang Lang faces it's a stupid competition. What does faces have to do with music?

[j_menz]

In my opinion you shouldn't "add" emoting to your performance. It's an unnecessary and superficial distraction from the only thing that matters - the music. Consciously making faces is not likely to help you play better either because you have to focus a part of your attention on something that doesn't have anything to do with the music. You shouldn't show the audience how emotional the piece is by making faces, but rather by playing it really *** good.

I agree. The risk is that you express that which you wish to express through the body, rather than through the music. 

I would add, however, that one should not consciously supress emotive faces or movements (unless they are positively detracting from your ability to play). To do so runs the risk of as much supressing the underlying emotional intensity as the physical action, and that can result in a repressed performance.

[stoat_king]

Whilst I'm sure that the previous few posters have meant well, I dont feel they go to the heart of the question the OP is asking.

I sense this clip will be much more helpful.

[j_menz]

I sense this clip will be much more helpful.

Amusing. But I'd send whatever sense you used in for a service.

[stevensk]

Facial (and body) expression is important, but forget Lang Lang if you dont want to look like a clown.

This one is beautyful:

[pianoplayer002]

Facial (and body) expression is important, but forget Lang Lang if you dont want to look like a clown.

This one is beautyful:

Way too much superfluous movement in my opinion. The old masters all recommended absolute economy and quietness of motion. Don't get me wrong, she plays very well, but I think she would benefit from sitting still and relaxed. Quiet and calm.

[gustaaavo]

This is a complex issue. It's easy to think that acting takes away concentration from what should matter: the sound. But, well, there's Gould, who's of course absolutely focused on getting the sound he wants despite the humming and swirling. Also, I used to think that the likes of Lang Lang (and Kobayashi whom I hadn't heard before) did that to express the feelings they're incapable of expressing with just sound. But now I'm not so sure (speaking of Lang here, won't comment on the girl without hearing more): there are moments when he does achieve a very special and emotive sound.
But I certainly do prefer Cortot, Rubinstein, Arrau, etc. You can't see the emotions but you can see how concentrated they are on producing them (in fact, not directly the emotions but the correct sound that will produce them).
A great middle ground is Zimerman. He does "act" somehow but most of his movements are intended to produce the right sound, not as reactions to his own sounds.

[stevensk]

"It's easy to think that acting takes away concentration"  -Yes thats what some people think. They even think its just a kind of manér (it certainly is in Lang Langs case).
I think Kobayashis "acting" comes naturally, she is "one" whith the music.
I think it even can have a positive effect of the playing itself.
- If you smile, its easier to play something cheerfully. Actors, dancers etc know lots of this

[cwjalex]

are you planning on becoming a professional performer?  if not i would say don't worry about it and just focus on sounding good.  lately my teacher has been making all these comments about this "visual" aspect of my playing which makes me internally roll my eyes.  i'm not going to be a professional pianist and i would much rather focus on sounding good than looking good.