Skip to main content

Public Face, Private Face

We are home from an amazing long week of Christmas visits, with four full sets of different family circles getting to coo over and handle Zoe and meet her and play with her. And she was amazing! As sociable and friendly at the last party as at the first, she smiled at everyone and was happy to be held and bounced or to show off her almost-crawling skills for HOURS. I personally begin to fade pretty quickly at a big gathering when I don't know people well, but Zoe remained the life of the party over and over, and for surprisingly long periods.

What I noticed was this, though. Every time she came back into my arms, whether after 15 minutes or an hour and a half, she'd get a little squirmy and a little fussy and want to feed just a little bit. Sometimes she'd nap. And I began to realize that I was the safe haven for her that made the rest of her social energy possible. Her public face was consistently delightful, but when she came back to me she could let the private face through and admit that she wanted the comfort of nursing or that she was tired and needed a break.

To me that makes perfect emotional sense. I am less adept socially than I am professionally, but if I'm holding an oboe and performing or teaching, I'm very enthusiastic, and I am closely keyed into the person or people I'm interacting with. While performing I consider it my job to be entirely extroverted. The act of performance is about giving the music away to the audience, and it is my job to translate the composer's intentions and to sell the piece I'm playing. So everything about me is aimed outward during performance, and I am intentionally generous with my affect and communicative with both my colleagues and my audience. I can speak very comfortably in public by the same mechanism. And of course when I teach I am keyed into the needs of the student and working constantly to inspire as well as to inform.

I feel very comfortable in those roles, and my oboe-self is a genuine one, but when I get into my car or back home again that outward-oriented energy fades to be replaced by the private face. I am definitely an introvert at heart, and restore my energy by having alone time or at-home time with my family. I don't want to make it sound like my professional persona is a fake one - that's not how it feels to me - but the kind of energy it takes is not indefinitely sustainable without the rejuvenation of solitude. I certainly have a public face and a private one, and it is fascinating to see that so clearly in my five-month-old daughter as well.

Comments

  1. HI Jennet - all of this makes sense. I saw the Kennedy Awards this week, and they honored Bruce Springstein. One of the comments was that he gave 110% during his performances, and that there was "nothing left" afterwards. It's true, you pour out everything you have during performance... so it's absolutely necessary to regroup/rejuvenate!

    We have a recital in less than a month! Looking forward to it!

    Paulie

    ReplyDelete

Post a Comment

Popular posts from this blog

IDRS 2014 - Day Two and OUT

I'm writing my Day Two report while all of my colleagues and friends, new and old, are well into their Day Three experience.  I was terribly sad to leave NYC, and IDRS.  In past years I've found myself sort of oboe-ed out by the third or fourth day, but I was nowhere near that point last night when I had to begin my schlep to the airport.  On the up side, I am home and spent the morning with Zoe and Steve, and I'm safely on the correct side of Lake Michigan well before my concert tonight, which was the important purpose of my travel plans - but there are SO MANY MORE great events happening at NYU.  Best of luck to everyone performing! Yesterday, among other performances, I enjoyed THREE recitals featuring music for oboe and bassoon.  Be prepared for a husband-wife recital coming down the pike in the next year or two, as I loved much of the new music that I heard.  First I enjoyed hearing ToniMarie Marchioni and two of her colleagues from the University ...

Practice+ App - and my FIRST EVER GIVEAWAY

You know how, when you are practicing, you need to have your metronome on your stand and turn it constantly up and down as you work through a technical passage?  And you also want to play in tune, and make sure you are staying consistent with your pitch.  So while your metronome is clicking away on your stand, you also have to turn half-way around to look at the screen of the big tuner which has to be plugged into the wall because it eats batteries otherwise.  And if you also want to record yourself to listen to your progress, you have to have your laptop on with the big mic plugged into it, and that’s on still another surface, so you have to move your stand around so you can orient to all three, and then your giant stack of music-in-progress falls off the stand and onto the floor and out of order and the next ten minutes are spent not practicing at all but just trying to return to normalcy. Does this sound familiar? I was sent a free promo copy (full disclosure) of an...

Beauty of Sound

In our dress rehearsal Saturday afternoon, the conductor did exactly what I often do to my students - he asked the violins to play more beautifully, and they did.  He didn’t tell them how, or give them a flowery expressive speech, he just asked for more beauty of sound, and they immediately gave it to him.  To a great extent the sound we produce is set, based on our equipment and the shape of our mouths and our bodies - but it can be altered, too.  Adjustments in reeds and instruments can go a long way, but the key change we can make is in our own minds. I don’t know how to explain it physically, but if you determine the sound you want to make you can produce it.  Or at least you can lean in and approach it.  This is something I’ve been paying a lot of attention to lately in my own playing.  As I prepare the Saint-SaĆ«ns Sonata to perform on our Oboe Studio Recital (tonight at 7 - details HERE ), my approach is largely about beauty of sound and vibrato....