Concert Etiquette Clash: When Standing Blocks the View
A recent inquiry highlights a growing tension at live performances: the right to enjoy a show versus the right to stand. One concertgoer found their experience marred by an individual who remained standing for the duration of the event, obstructing the view of those seated behind them, sparking a debate about concert etiquette and the responsibilities of both attendees and venue staff.
The situation, as described in a recent correspondence, unfolded when a patron attended a concert where the audience largely remained seated, rising only for three or four songs. However, one individual chose to stand throughout the entire performance, effectively blocking the view of the person seated directly behind them. When the seated attendee politely pointed out the obstruction, they were met with a defiant assertion of their “right to stand.”
Attempts to resolve the issue through venue staff proved fruitless, as an usher reportedly refused to intervene. This raises questions about the role of venues in mediating disputes and ensuring a positive experience for all ticket holders.
According to advice columnist R. Eric Thomas, concerts represent a unique social environment where standing is often acceptable, even encouraged. “Concerts are a rare social space where it’s appropriate, even encouraged to stand if you can and want to,” Thomas wrote. However, he acknowledges this doesn’t negate the right of others to enjoy the show comfortably.
The key, Thomas suggests, lies in creative solutions and proactive communication. He proposes exploring options such as politely requesting a nearby standing attendee to switch places or seeking assistance from an usher to relocate to a different seat. “But it might require some creativity,” he notes.
The appropriateness of standing also appears to be context-dependent. While standing is often accepted at high-energy pop or rock concerts, it may be less suitable for other performances. Thomas points to classical music or theatrical productions as examples where remaining seated is the norm. “I can’t imagine standing through ‘Hamlet’ unless I’m at the Old Globe,” he stated, referencing the renowned theater in San Diego. He also notes that while Stravinsky’s “Rite of Spring” famously provoked a riotous response upon its premiere, audiences generally sit for the piece today.
Ultimately, navigating live music venues requires a degree of social awareness and consideration for fellow attendees. While personal enjoyment is paramount, it should not come at the expense of others’ ability to experience the performance. The incident underscores the need for a shared understanding of concert behavior and a willingness to find compromises that ensure a positive experience for everyone.
(Send questions to R. Eric Thomas at [email protected] or P.O. Box 22474, Philadelphia, PA 19110. Follow him on Instagram and sign up for his weekly newsletter at rericthomas.com.)
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