By Michael Sheridan, Anthony Galvin
Richard Harris used to be a tremendous who oozed air of secrecy on monitor; offscreen, despite the fact that, he used to be and hooked on each excitement existence may perhaps supply. Coming from a repressed Irish Catholic historical past, he used to be compelled through a teenage sickness to desert his loved rugby, yet no longer his macho appetites. getting to know theater stored him. He had chanced on his calling. regardless of marrying the daughter of a peer, he by no means attempted to slot in. He used to be consistently a hell-raiser to the middle, besides mythical acquaintances Richard Burton and Peter O'Toole. yet he was once extra; he used to be a talented poet and singer. He used to be an clever kinfolk guy who took nice curiosity in his craft, and used to be a Renaissance guy of the movie global. at any time when his excesses threatened to kill his occupation, and himself, he rose magnificently from the ashes, first with an Oscar-winning functionality as Bull McCabe within the box, then within the Harry Potter franchise.
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Extra resources for A Man Called Harris: The Life of Richard Harris
Am I tired of practicing or analyzing this piece? Am I unusually receptive to it because of the way I feel today? Do I use it as a backdrop on which to project my feelings? Am I in the habit of associating freely in response to musicforming imagery, fashioning a mood, seeing a mental picture? 30 Can my discussion of the work meet the demands of disciplined critical discourse? This is a goal one seldom reaches, I suspect. One ought, ideally, to be a technically competent reasoner in discussing music (or any subject), and most of us would profit from a good course in logic.
Picasso's shattering Guernica), and the experience is apt to be the most intense in an art other than the art one practices. The single most vital precondition for the aesthetic experience is a special type of attitude, a state in which one is most receptive to intense artistic experience, characterized by critical attention. This attitude is likely to be present in but a small fraction of our encounters with art objectsother intentions, interests, or attitudes get in our way. We could scarcely call aesthetic the attitude of the department-store technician selecting fast and bouncy Muzak to speed shoppers through the store on Saturdays, the Casanova placing a record on the phonograph to accompany his intended seduction, the woman who hears the Bridal Chorus from Lohengrin and recalls her own wedding, the communicant who during Mass is only faintly aware of the muted organ music, or the basketball player who bounces nervously up and down, awaiting the end of the national anthem before a game.
The spectators must learn to shift their attention because the works themselves shift the locus of their activity. This is a good general definition of what is often called counterpoint. " There are no empty spaces in the arts, nor are there true silences in musicany more than the air that we breathe is a vacuum. There are, however, areas of lowor noactivity and negative spaces. It is the "somethingness" that we usually attend to in music, not the ''nothingness," and yet the uses of silence are numerous: silence may be mere punctuation or a minute interval between two articulated tones.
A Man Called Harris: The Life of Richard Harris by Michael Sheridan, Anthony Galvin