????為什么最開始的時候與觀眾們聯(lián)系在一起如此困難？

????在過往作為鼓手的經(jīng)歷里,，我坐在演唱樂隊或者管弦樂隊背后,，或者處于行進(jìn)樂隊中間,。但是在臺上,，我會看到觀眾們盯著我，這就像別人在對你評頭品足,。剛開始的時候,，我從不看觀眾的眼睛,。我只是盯著他們的前額。還有頭發(fā),。

????你如何克服這一點(diǎn),？

????直到我把自己豁出去,。我跟演員們說：“如果我出錯了——這種情況肯定會發(fā)生——只管跟著我來?！币魳氛沁@樣創(chuàng)造出來的。在音樂世界,，錯誤是可能發(fā)生的,，我們需要做到這一點(diǎn)，因為這樣我們才能相互交流,，從而達(dá)成統(tǒng)一的看法,。音樂從來都不會是完美的,，音樂不應(yīng)該是這樣。音樂要求我們聯(lián)合在一起,。

????因此你不得不將自己對該節(jié)目的看法推銷給你的同事,？

????這就是挑戰(zhàn)。但對我來說,，這是一件有趣的事情,。我彩排的時候，不僅要向人們作出不同的說明,，去了解他們對音樂的認(rèn)識,，還要理解他們的個性。

????這些人都是專業(yè)人士,。他們都是富有才華的音樂人,、演員和表演者，不應(yīng)該接受任何形式的說教,。此外,，如果你這樣做了，你不會獲得良好的表演,，因為我們表演時都帶著各種各樣當(dāng)時正在感受的情緒,。

????我希望成為更好的領(lǐng)奏者。這個節(jié)目里困難的一個部分是,，在不說一句話的情況下,，預(yù)測我希望表演者們怎么做。

????沒錯,，沒有任何對話,。請談?wù)勥@種非語言的交流。

????好的,。不過有時候,，只需要很簡單的動作——把節(jié)奏稍稍提前，然后彈奏你想要的節(jié)拍,，他們就會意識到自己“令人討厭”（dirty）,。我說的“令人討厭”，意思是沒聯(lián)合在一起,。我一直說“控制節(jié)奏的發(fā)展,，調(diào)整，然后維持”,。這是這個節(jié)目的數(shù)學(xué)問題,。最重要的是，每個人都擁有足夠的聰明和才華去這樣做。問題只是,，他們是否會選擇這樣做,？

????在Stomp擔(dān)當(dāng)領(lǐng)奏角色后，你還會再次回到演唱樂隊后面的位置嗎,？

????我肯定希望再回去打鼓,，因為我不想只是將打鼓作為興趣愛好。但嘗過了站在觀眾面前的滋味后,，我明白了,，這種體驗并不在于“看，我是明星,！”這是關(guān)于一種獨(dú)特的體驗,。這是一個親密的瞬間，你可以一次性和這么多人在一起,，這非常特殊,，令人著迷。這種感覺就是,，每個晚上你都帶給觀眾們很多快樂,，他們站起來為你鼓掌喝彩。(財富中文網(wǎng))

????譯者：成鵬

????Why was connecting with the audience so difficult, at first?

????In my past experience as a drummer, I was behind a band or behind an orchestra or in the marching band. But on stage, I would see people staring at me and it's almost like you're being judged. At first, I never looked people in the eyes. I was just looking at foreheads. And hair.

????How did you overcome that?

????It wasn't until I put myself out there. I told the cast, "If I make a mistake, which I will, just come with me." And that's what makes it music. You need that point in the music where mistakes are probably happening, because then we have to communicate with each other and find a unified idea. It's never going to be perfect, it's not supposed to be. It's just supposed to be together.

????So you have to sell all your colleagues on your idea for the show?

????That's the challenge. But for me, it's kind of a fun thing. When I run rehearsals, not only do you have to speak to people differently, to understand their knowledge of the music, but you also have to understand their personality.

????These are professionals. These are talented musicians and actors and performers who don't deserve to be talked down to in any way. Also, if you do, you're not going to get a performance because we perform with whatever emotions we're feeling.

????And I want to be an even better leader. The hard part about this show is projecting what I want the cast to do without saying a word.

????That's right. There's no dialogue. Talk about non-verbal communication.

????For sure. But sometimes it just takes the simple act of stepping a little bit in front of the line and playing the tempo that I want them to play, and they'll realize they're dirty. When I say, "dirty," I mean not together. I always say, "establish what's going on, adjust, and maintain." That's the math problem to this show. And the thing is, every single person is intelligent enough and talented enough to do that. It's just, are they going to make the choice to do it?

????Having led Stomp, would you ever take your seat behind the band again?

????I definitely want to go back to playing a drum set because I don't want drumming to be just a hobby. But having tasted what it's like to be in front of an audience, it's not about, "Look at me, I'm a star!" It's about a unique experience. It's an intimate moment that you can have all at once with that many people and it is just extremely special. It's addicting. To feel that you can give that many people that much joy that they stand up and applaud every single night.