To understand the charm of live performance, we must first talk about its limitations. Performances are limited by space and intermediaries, and because of these limitations, many stage innovations have emerged. Unlike traditional movies, the stage scenes that the performance can present are limited. It cannot transform a large number of scenes in a limited time to match the development of the whole story. The limitations of space will lead to two main problems. First, some grand narrative stories cannot be well adapted into live stage scenes. Second, as an audience, the unchanging view is easy to cause visual fatigue. Therefore, many live performances incorporate different types of media, such as the use of double screens and special effects in the play of the orchestra ‘Amadeus’. The performance across media creates a sense of liveness, helps enhance the audience's ornamental enjoyment, and closes the distance between modern live performances and old classic movies.
The performance I went to is ‘Amadeus’, a unique live symphony orchestra performance incorporated with a movie. It is a relatively new and innovative form of performance, unlike any other one I've seen before. The orchestra and the film complement each other. The audience was treated to live music while they are enjoying the movie. ‘Amadeus’ tells the story of Salieri's repentance to the pastor in his later years with Salieri as a first perspective. He confessed that he is responsible for the death of Mozart. Recalling the musical talents Salieri longed for in his life were given to a young and cynical man, who was Mozart. Salieri hates that the random creation of Mozart could easily surpass his endless efforts. His jealousy and ambition grew rapidly, and he gradually planned to go against and destroy Mozart. The performance removed the original soundtracks and some of the choruses in the film and replaced them with musicians and a choir. This live experience is very different from purely watching a movie at the cinema or in front of a computer at home. It added more elements that complete the performance.
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Compared with watching movies at home, I consider myself a viewer. All I have is me and the movie. But when I went to the Hill Auditorium, I became a participant and one of the elements that complete this performance. Moreover, I can also feel the environment of the auditorium, other audiences, directors, and musicians. My experience has become richer and had a three-dimensional effect. The film and the orchestra are indispensable; otherwise, the uniqueness of the performance will be lost. Music is by no means a 'combination of notes' because it's played by people and has its own emotions. Therefore, even if listening to the same piece of music, you will have different experiences in various situations. The most significant advantage of live performance is that the audience is concentrating on the music. Music is the art of emotion, and all of this is based on immersion. I think the auditorium hall itself is an extensive sound system. Combining the circular shape of the concert hall, the material of the building, and the position of the stage, will affect the sound quality.
No matter how good the recording is, and how high-fidelity the equipment is, this continuous immersion time can't be guaranteed at home. I am very interested in seeing how the sound was generated, how it converged, how the violinist's arm swung, how the timpani's sledgehammer fell, and how the conductor conducted it. There is no visual aid in watching movies and listening to music at home, but the performance has such help. If a person's ear is not enough to capture a lighter instrument, the on-site command and the 'visual action' of that instrument will guide the audience to notice the faint sound. I had seen this movie twice before I went to the performance, but I was immersed in the story of the film every time I watch it. I seldom pay attention to listening to background music. However, any tiny movement of musicians and conductors could be seen directly in the auditorium. I will pay special attention to listening whenever I saw the musicians have any moves. Thus, the audience could hear more than just watching a movie. For instance, there was actually a piece of very light and faint music when Salieri confessed himself, but I was attracted by the story Salieri told. It is when I saw the conductor start to wave at the auditorium, that I just realized that flute, violin, and pipe organ played roles at that moment. Also, it was when the musicians move, I then captured the tiny sound when Salieri asked Mozart to compose a requiem. Thus, the orchestra gave the film a kind of visual aid to help audiences better appreciate the performance. The sound of dozens of instruments meets in the audience's seats from all directions. Multiple sounds are superimposed to form a piece of work with thickness, while the computer lacks the thickness of the sound or the layers of it. I consider the success of the live performance as the creature of the combination of media and orchestra.
The art of live performance has been ritual and non-replicable since its birth. The actor must accurately capture the character of the play and interpret the work with exquisite acting. The actor's ability to perform on the spot and personal qualities have to be extremely high to present an appealing performance. It is necessary to touch the audience and arouse their resonance. The use of multimedia and close-ups can portray the subtle movements and expressions of the actors to the audience. The combination of the film and the orchestra magnifies the details that the viewer generally overlooks. Therefore, the reproduction based on the original work and the use of media creates a sense of immediacy, which immerses the audience in the intense and live atmosphere.
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