‘There is the presence of a performer like Rudolf Nureyev: the classical dancer who has learned how to “make a presence” – and how to expand the chest, not outwards, but sideways, as the arm moves first upwards and then outwards, opening the body and the gaze to the audience. His entire frame now seems elevated by the breath inhaled. The nostrils flare; and the eyes’ strength of regard recalls that of African tribesmen presenting themselves as objects of sex-appeal to the women: haughty demeanour, flashing teeth, piercing eyes.’ (Howell, 1998: 211)

‘There is a foot presence, a knee presence, a buttocks presence, a chest presence, and finally a face presence – all these go together when one is making one’s body conscious to oneself and to one’s audience. These forces affect the voice also, and with presence we achieve resonance. (…) (F)or any successful adaption to occur, there must be a degree of cold-blooded construction in order that a presence can first be establishes inside the shell, so that the shell can be convincingly manipulated, coming alive beneath the external gaze. As a performer, ultimately, one needs to be wearing oneself – like a glove.’ (ibid.: 219)

References