The performing arts is always a challenge of creating a compelling storyline for the audience.
One of the most damaging issues in maintaining a good story is the act of upstaging.
(Upstage as a place means the area at the back of the stage, furthest from the audience.)
Upstaging means drawing the attention of the audience away from where it should be. And it is disastrous to a performance.
Worst of all, because it is done “upstage” it is usually done without the knowledge of the artist who is being upstaged, who is usually downstage and so has his or her back turned to the upstager.
There are obvious examples, sadly rather common, such as a rhythm musician who is conversing while a singer pours his or her guts out during a ballad.
But there are more subtle examples that are also harmful. A supporting actor that is supposed to be still can move only a little and distract from the main performer. Or a musician who nervously fiddles with equipment when he or she should be directing attention to the main performer.
The main idea is to minimize or eliminate anything that can distract an audience from the story that is being told. Of course a prerequisite is that the artists KNOW what the storyline is.
My wife and myself were in Vegas this past November. We went to the Gospel Brunch at the HOB. The bass player was yawning during most of the performance. I have seen musicians answering cell phones, whatching TV, looking at the clock you name it. These are the same people who complain that the crowd wasn’t into it tonight. Oh well… Makes me look that much better.
A note to “The Talent”.
I have frequently seen the main performer in an ensemble inadvertently sabotage the show by acting as if s/he was playing solo.
Here are a few examples:
- Starting a set before everyone is on the stage.
- Don’t force others to upstage you just to get on the stage.
- Starting a song before everyone is ready.
- Is anybody still plugging in, tuning, setting up his/her instrument?
- Any of the following while someone else is taking the lead role or soloing:
- Visibly counting bars
- Tuning your instrument (Please - at least mute it)
- Flipping through music, set lists, the newspaper
- Chatting with the audience from the stage
- Ordering a drink from the bar (gestures or even through the mic)
- Rearranging things on stage
- Wailing on your instrument oblivious to the dynamics of the other players
- Stepping on the solo by coming in early (vocally) - often the result of counting the bars
Any of the above can create conflict and confusion for the audience. If you, The Talent, are not working in harmony with the ensemble, then it may well appear that others are upstaging you. If you are at odds with the ensemble then the ensemble can not support you.
Edit: grammar
Hi Ken,
Downstaging*?
Is there a name for it when someone is the intended center of attention and someone else walks in front him/her, blocking him/her from view by the audience.
* Downstaging seems to be a medical term
Originally posted by ST:
"Downstaging*?
Is there a name for it when someone is the intended center of attention and someone else walks in front him/her, blocking him/her from view by the audience."
Sounds like some of my gigs at the VA hospital.
Respect
quote:Is there a name for it when someone is the intended center of attention and someone else walks in front him/her, blocking him/her from view by the audience."
It's called "Being Rude" in my neck of the woods.
Happened to be talking to a playwright and director today.
The term upstaging is applicable regardless of the physical positions on stage. Ken’s definition is dead-on of course.
“Upstaging means drawing the attention of the audience away from where it should be. And it is disastrous to a performance.”
Although the term takes its roots from the physical locations as described by Ken,
"Upstage as a place means the area at the back of the stage, furthest from the audience"
and
"Worst of all, because it is done “upstage” it is usually done without the knowledge of the artist who is being upstaged, who is usually downstage and so has his or her back turned to the upstager."
The term upstaging is not limited to the strict view of the location of the performers (upstage or downstage).
I work with some great guys but since we video our gigs, I have notice we often have solo moments where the singer draws all the attention to himself by hamming it up or singing over the solo. He’s a great guy and I feel the band has kinda lost it’s vibe for good due to his almost constant habit of upstaging.
This is a cool thread and brings up some under discussed points. My addie would be a form of upstaging that I have been guilty of in the past though it’s hard to talk about it now! It’s when you have some chops under your belt and someone asks you to sit in - instead of blending and supporting you take over the stage - while it’s fine to shine you need to respect the honor of sitting in and be very aware of the music you’re supposed to be supporting. If you play really well in the right moment and make your hosts sound good then you are helping - if your agenda is to rule the stage then you should probably stay off of it. I made those mistakes when I was starting out. I think it’s about feeling you have to prove your self - all it proves though is that you’re not ready to be a team musician yet.
Studio work is the best remedy for such ills - there you learn to find your part. There is no applause at the end of your contribution - just an engineer who may ask you to try to come up with something else! Even if you’re not asked to play on a session you can learn volumes from being a fly on the wall. Apply that newfound experience to your live performance ethic and it will pay big dividends in awareness and ultimately the respect of your fellow players. If you can’t find a studio to hang out in then watch the players who seem to be asked to sit in with lots of different bands frequently. If you pay attention to what they are and aren’t doing on stage it will become apparent why they are held in such high regard.
My favorite example of “just the opposite” is a recent concert DVD of the great Huey Lewis And The News. Huey’s obviously and deservedly the star and focus of attention most all the time, but each player in the band is fabulous also.
This concert they use a full 4-man horn section in addition to the guitar/sax guy. In one passage he steps up front to take an extended sax solo while the section is playing spot accents, and during this solo, Huey steps back WITH the horn section, and plays with them, on his harmonica, complete with matching movement. Small gesture, but just SO 100% COOL!