Years ago, there was a scale of sexuality preference, which came from research done by Dr. Alfred Kinsey, Dr. Wardell Pomeroy, and Dr. Clyde Martin. This was a scale of sexual orientation of degrees of heterosexual to homosexual orientation.
There have been newer scales of orientation done by others, but the Kinsey Scale was one of the first. It seems that no one is 100% one way or the other. Since “gender” has become such a hot and controversial topic, it might be enlightening to read about such things after we explore another controversial topic.
We start by acknowledging that two-valued logic omits a vast amount of reality. Things are not dichotomous, or opposites, and the gray area is nearly infinite in scale and size. Having postulated that as being an acceptable reality, let’s turn our attention to the world of the arts.
In music, dance, painting, sculpting, architecture and more, we enter the battlefield. Two opposing forces, it would seem, with the artist on one side and the critic on the other. If it were so simple, that would be marvelous indeed. Unfortunately, each has the other’s disease to an extent.
Just like with the Kinsey scale, there is a scale between artist and critic, each sharing a portion of the other’s viewpoint, mindset, knowledge, and execution. There have been some who would wish the other executed, for that matter, but emotions can run low for the time being.
No one is 100% artist and 0% critic. No one is 100% critic and 0% artist. There is a scale of proportions, which may not be easily definable, but the intention on either side of the competition dictates the viewpoint at any given moment.
For now, focusing on the artist, the artist has technique, artistic imagination, style, and acumen as an artist, not necessarily measurable, but somehow there is agreement or a common consensus as to the state of amateur versus the state of professional, especially within an audience of size.
The artist must evaluate what is created and/or performed, to the extent of there being a recognition of the original intention resembling or matching the “product” of the artist. A singer will have a concept of precisely how a song is to be sung by him/herself and what comes out of the mouth and the two must be reasonable facsimiles or disappointment is a certainty.
The critic in the artist may be demanding perfection and constantly is disappointed by the performance, whether in practicing or in performing for audiences. Perfectionism is lacking in two things: connection with reality and a lacking in maturity. It is impossible to be in a constant state of improvement, even though both the artist and the critic would be enamored by such a state.
If “critic versus artist” were like a simple variable capacitor used for the control of treble and bass in the playing of audio, the knob could be turned between critic and artist, allowing the viewpoint to shift as needed to bring about a best performance. Perhaps when performance day arrives, it would be better to strive for 100% artist, having sufficiently prepared for the task at hand and to share the gift of art instead of having an introverted point of view and being disconnected from the audience.
The idea of 100% artist and 0% critic is probably not possible because we singers do hear ourselves and are part of the audience for which we perform. The attention of the singer should be on the words, music, meaning, emotion, and the audience not only receiving, but also being a part of the intimate relationship ideal to a great performance, where the gift is received and appreciated by all.
The simple tone control has been replaced. At first there was a treble and a bass, later a treble, midrange, and bass and after that, a graphic equalizer for various frequencies spanning from the lowest to the highest. The graphic equalizer spans the gray area between top and bottom of frequency. The artist should focus on what is needed for the best performance and cover the gray areas as appropriate and applicable, while having the intention for the artistry to have the final say in it all.
You, the artist, are in the driver’s seat. Don’t let the nagging mother-in-law in the trunk distract you and cause you to crash.
PS BONUS: where your attention goes has everything to do with stage fright.