Of the top of my head: we are communicating emotion, and our communication
must be effective, our performance is the postman not the letter, what we
actually feel is a performance state which is rather more complex than just
feeling, or just vocalising. What an auditor gets out of it ought to be not
a suffering rigoletto (for instance) who would talk, not sing, etc., but a
separate category of stylized vicarious experience. We are storytellers
who, by the force and conviction of our performance evoke an emotional
resonance in an observer which is a disciplined and aesthetic analogue of
the kind of emotion a real-life event might produce. ok, i'll stop now. john
At 01:20 PM 4/25/00 -0400, you wrote:
>In a message dated 4/25/00 12:05:01 PM US Eastern Standard Time,
>omigurt@a... writes:
>
><< I would hate it if I were just standing up there
> pretending to feel emotion! >>
>
>
>You don't pretend to feel the emotion, you feel it to a certain point but it
>is always under control. You are in command of your feelings and how you
>show them. That's what I mean when I say feeling on the outside. People
are
>able to perceive the emotion in your voice not in your gestures.
>
>Regards,
>Ximena
>
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>
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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