| Ayumiko |
31st March 2007 09:15 AM |
[ARTICLE] Hamasaki Ayumi as an example for Taipei dome/female singers
I saw this article from ayunite and I thought it was really great. I thought I should post it here for you guys.
Quote:
濱崎步為小巨蛋／女歌手做示範
【聯合報／王祖壽】 2007.03.30 02:58 am
演唱會是視覺與聽覺、軟體與硬體高度配合的精密工業，但是，更高段的演出，在節奏與情緒的掌握，以台北小巨 蛋而言，濱崎步做了一次示範。
絢麗有如拉斯維加斯豪華大秀，是濱崎步演唱會的基本架構，儘管橋段或服飾有著瑪丹娜、凱莉米洛演唱會的影子 ，但就演出的效果來看，針對濱崎步歌路與形貌的舞台設計、目不暇給的場面變化與訓練有素的賣力（汗如雨下卻 一絲不苟）表演，總結成濱崎步征服台北舞台的要素。
上述種種也可能是其他歌手演唱會成功的因素，但濱崎步不止如此，從開場到安可曲之前，都是華麗大秀，進入安 可曲一反前面盡情堆砌，她與舞群換上白T恤、牛仔褲輕鬆上陣，整場演唱會至此呈現返璞歸真。
尤其她唱完安可曲，全場激動狂喊，聲浪幾乎淹蓋屋瓦，這時舞群已退，偌大的台上留下紮著兩束金髮宛如鄰家女 孩的濱崎步，她把麥克風放在腳邊，將食指放在嘴唇中間，要求大家安靜下來，這個動作在演唱會裡有點突兀，但 這時全場的情緒已完全操控在這小小的身影之上，上萬觀眾鼎沸的聲浪驟然安靜下來的瞬間，只見濱崎步將雙手圈 在嘴邊，拚出吃奶之力向空中（觀眾）大喊：「阿里阿多…」
濱崎步隨即轉身快步退場，這時樂音與觀眾錯愕後的叫喊聲重新充塞回整個空間，濱崎步營造了短短數秒有如電影 慢動作無聲勝有聲的ending，迴響卻像漣漪層層擴散。這時場燈已亮，觀眾明知表演已經結束，卻意猶未盡 ，濱崎步演唱會的成功，除了該有的配置，擅於情緒的掌控更是精髓。
濱崎步對此間歌手（尤其是視覺重於聽覺所謂偶像女歌手）的啟示，演唱會不是臨時抱佛腳模仿難度高的動作而已 ，那只是皮相，一場動人的演唱會除了展現平日歌藝才藝的累積與肢體訓練的成果之外，演唱會必須以精算的銜接 與現場的節奏，匯聚成集體情緒的流動，當然這是靠視覺與聽覺，軟體與硬體的高度配合，但用心用腦產製個人魅 力才是發電的源頭，此間歌手演唱會往往忽略，或無力觀照到此一層次，以致形成「拋棄式」演唱會，小巨蛋辦過 一次之後，同一歌手如同被看破手腳，下次再辦效益立刻遞減。
濱崎步從跑龍套小演員轉入歌壇，如今成為行情足以影響唱片公司股票升降的巨星，觀察她在舞台上的一舉一動， 臉部細部表情都可能是當年小演員的磨練累積而來的一種舖陳，台灣後進偶像女歌手除了觀賞／模仿她的表演之外 ，必須從頭改造思維，腳踏實地訓練歌藝／才藝，加上幕後工作人員的群策群力投資，華語歌壇才可能打造出價值 連城的「濱崎步」。
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Translation by goku @ ayunite
Quote:
Hamasaki Ayumi as an example for Taipei dome/female singers
A concert is a blend of audio and visual effects, hardware and software, a piece of hard work. However, for concerts of a higher calibre, where concert rhythm and mood are of utmost importance, the Taipei Dome has a shining example in Hamasaki Ayumi.
To be as beautiful as a fashion show in Las Vegas, that is the basic requirement of ayu’s concerts. Even though there is a shadow of Madonna’s and Kelly Minogue’s stage sets and costumes is present, it can be seen from the overall effect of the concert, that the stage is set especially for ayu’s songs and image, that the eye-catching scenery changes and passionate training for the performance together is the secret to ayu’s reign of Taipei’s spotlight.
Those elements listed above may also be the secret to other artists’ success, but ayu does not stop here. From the opening show right to the beginning of the encore is a fashion show, and once into the encore, she changes tact. Wearing a similar casual white T-shirt and jeans as her dancers, the whole concert mood has changed totally.
Especially after she finished singing her encore pieces, and the whole audience is engrossed in cheering and screaming. The dancers have already left the stage, only Hamasaki Ayumi, wearing 2 golden pigtails like the girl-next-door, is left on the huge stage. She places the microphone by her feet, and puts her finger onto her lips, signalling for everyone to keep silent. This action seems out of place, but by this time the whole audience’s mood is under the control of this little figure on stage. Tens of thousands of passionate voices suddenly fell silent in a moment. Ayu then cups her hands around her mouth, and uses all her energy to shout “arigatou…”.
Hamasaki Ayumi then turns around quickly and leaves the stage, and the music and audience immediately fills up the silence with noise. Ayu has created in a few seconds of silence a movie-like slow-motion ending, and the effect it has is humongous. At this time, the lights have all gone up, the audience, though knowing the concert has already ended, are still reluctant to leave. Ayu’s concert’s success not only creates the correct effects, but also has total control over the audience’s mood.
Hamasaki Ayumi has given local artists some inspiration, especially those who only emphasize on the visual effects while neglecting their voice delivery. A concert is not a last-minute event which only requires the imitation of difficult stunts. That is only the surface. A passionate concert will include, not only showing off the results of daily vocal and physical training, but also a carefully calculation of the concert’s rhythm, the mood and flow of a group of people gathered together. This, of course, relies on vocal and visual delivery, the blending of hardware and software effects, but the source of attraction lies in the heart and brains of the artist. Local artistes’ concerts have either failed to recognize or incorporate this, and hence create a “discarded” concert. Taipei Dome, having hosted ayu this once, has exposed the flaws of other artistes, who will surely try to hold a better concert in retaliation.
Hamasaki Ayumi, a B-movie actress who turned to the music industry, has today become a star who has a strong hold over her record company’s stock prices. Observing her on the stage, every movement and facial expression may be been due to the training given to her during her acting days. Recent Taiwan female singers should not only watch/imitate her performances, but also start changing themselves from the very beginning and undergo a down-to-earth training of their vocals and talents. That, plus the full devotion of a capable back-stage crew, will maybe then grant the Chinese music industry with a priceless “Hamasaki Ayumi”.
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who’s the Taiwan female singers they were refering to? :mischief |
