The question throughout the first half of Handel’s Messiah, the last of the Bristol Proms, was when would Tristan Sturrock – Peter Pan in Peter Pan and Long John Silver in Treasure Island – wake up as Jesus.

It was only right before the interval that he arose, after he had his prostate body washed by his mother and Mary Magdalene.

Having Jesus lying dead in the centre of the action, surrounded by his followers, gave so much extra impetus to the evening’s sold-out one-off show.

Old Vic artistic director Tom Morris directed and Simon Over conducted, live action mixing with singing and an orchestra on stage (the Southbank Sinfonia and the Erebus Ensemble) in what was the first performance of the Messiah at the Bristol Old Vic since 1782.

And it was worth the wait, mezzo-soprano Catherine Wyn-Rogers particularly impressing as Mary among a stage full of artists – and off the stage too with trumpeters at one stage playing from the theatre’s gallery and a young chorister being spotlit and then plucked from the pit.

It was stirring stuff, emotive and moving – action and music combining beautifully for a compelling performance.

Bristol University physicist David Glowacki, responsible for the visuals during Friday night’s Nicola Benedetti concert, was even politely escorted from the pit for almost trying to crowd surf during the Hallelujah Chorus. Classical music has turned rock and roll.

We waited more than 200 years for the return of Handel’s Messiah to the Bristol Old Vic. Hopefully we will only have to wait a year for the return of the Bristol Proms.

Handel's Messiah Bristol Proms

26 Responses so far.

  1. mike seignior says:

    I came all the way from London to watch this performance and was not disappointed. I think it is bad form for the reviewer to mention the member of the audience by name just because he was known to them. Any other audience might have been commented on but remained anonymous, we should all be allowed small indiscretions without notoriety.

    • Woland says:

      Dr. Glowacki has chronic body odor, a bad case of halitosis, and more body hair than less evolved primates. He is a social retard whose appearance and stench give me dry heaves. He certainly doesn’t belong in a sophisticated classical music performance at a high-brow venue like the Old Vic. His sort will only soil it, as he has done. He belongs in a mental institution, with attendants giving him sponge baths and wiping his bottom every few hours.

  2. Richard says:

    I was standing next to this man. I was shielding my son from him. It was our space he stole as he lurched sideways little by little with each shift of his feet as he clung to the stage, my and my family’s possessions I had to rescue from his feet. I, among others, asked him to respect our enjoyment of the music.

    David Glowacki was so drunk he could barely stand up let alone “crowd surf”, he was so loud he could not hear the upset he caused to those standing around him, he was so grotesque in his behavior he frightened my son, so rude that he and his two friends elbowed their way to the front moments before the second act began.
    He and his friends were so stupidly self-confident in their ownership of the theatre that they put their beers down on the stage.
    There is nothing excusable in this self-obsessed, arrogant and discourteous behavior. It was right that David Glowacki was escorted from the auditorium by two gentlemen standing near by and his two miserable friends slunk out after him.

    If I may quote your Bristol Uni page David “you must [be careful] not to fool yourself”, your behavior was an utter disgrace. http://www.bris.ac.uk/science/research/david-glowacki.html

    • Sascha says:

      OMG, OMG, LOL!! obviously you’ve never seen people do what’s called “dance and have a good time.” That’s what ‘shifting the feet’ is called these days. hahahaha.
      Classical music enthusiasts, I’m surprised your shriveled brains still manage to keep your heart beating and lungs breathing!! The dS show with Beneditti was light years more interesting than the stodgy old garbage you normally get with classical music. No wonder the genre is dying LOL!! I feel sorry for your poor son, property of an old-fashioned father with vigilante sensibilities. Wasn’t Jesus persecuted by the establishment for breaking the conventions? Tom Morris is Pontius Pilate and Glowacki is the REAL DEAL!!! And that’s why he got persecuted last night.
      Wake up and smell the future, old timers! Did you hear what Morris said? In the immortal words of Bob Dylan, “The times they are a-changin!” Bring it on!

    • Alyssa says:

      It won’t be long before the old timers addicted to their rules and manners and stuffy conventions turn back into the atomic dust from whence they came. And what will history’s verdict be? THEY LEAVE US YOUNG PEOPLE A COLOSSAL MESS. Why should we even bother with their stuffy old rules and what they think? Be sure not to fool yourself, Richard. The old-fashioned values of you and your generation have accomplished little beyond capitalist meltdown and a dying planet. Why do you look at the speck of dust in your brother’s eye, and ignore the plank in your own eye? YOUR BRAIN IS AN UTTER DISGRACE.

  3. Richard says:

    It was such a good concert. It was a delight to listen to such beautiful singing of such superb music. We really enjoyed so much about the whole performance.

  4. Johanna Nicholls says:

    Unbelievable that you could actually name check an audience member – are you an independant reviewer or a vigilante? How incredibly indiscreet and uncool of you to do what you did. As ever, your insight is limited and mainstream. And so you have done (in exposing not only the name, but also the part this individual played in the Bristol Proms) the exact opposite of what Tom Morris asked be the rules of Bristol Proms – tolerance and acceptance! Alright, the guy may have been drunk and got over excited and this may have offended others – and his behaviour and the decision to eject him, could indeed have been part of your review – but to name him and the fact he had been one of the contributing artists to the Proms makes you a very crap reporter, unless your blog is a sub blog of Avon and Somerset Police or an interview excercise in writing for the Daily Mail.

  5. Justin Saunders says:

    Myself and my son were also standing near Dr. Glowacki during the Messiah. Actually we had a lovely chat with him at the interval. I was enraptured by Glowacki’s introduction to the Nicola Beneditti performance the previous night, and when my son saw him, he asked me if we could ask him some questions about danceroom spectroscopy (http://danceroom-spec.com/). I certainly cannot believe that Glowacki was drunk. He was extremely polite, well-presented, and very articulate as he explained things to us. His project is a tremendous example of merging arts and science, and my children (who normally are bored stiff from classical music) were captivated watching Beneditti.

    I was saddened immensely at how Glowacki was treated by a few vigilante audience members during Messiah. Tom Morris – during his introduction of the Messiah – went out of his way to introduce the piece and explictly stated his intention that the normal classical music audience rules need not apply tonight. He said: “Enjoy a beer in the auditorium, chat when you like, clap when you like, whoop when you like, no shushing other people, and no need to stand for the Hallelujah chorus”.

    As far as I can tell, Glowacki was the only one who took Morris seriously. My impression is that Glowacki and his friends seemed deeply engaged with the show: laughing together, singing along, and on several occasions they cheered the performers when nobody else did.

    During the Hallelujah chorus, Glowacki raised his hands and gave a mighty whoop, clearly feeding off the energy of the 20-strong choir! It was at that point he was approached by two vigilante audience members who had taken it upon themselves to overrule the permission Morris had granted the audience. They shoved Glowacki hard in the back, knocking him into the stage. Then they shoved their fingers in his chest tellling him to shut up, grabbing him violently and hauling him out.

    My first thought was that this all must have been staged as part of the show. I hunted Glowacki down after the show to find out. He said that no, it was not staged. He had been the victim of violence by vigilantes for taking Morris’ suggestions at face value. I could not believe this, and it is too bad; finding this out actually ruined my night. Believe it or not, I actually witnessed a number of onstage performers approach Glowacki after the show and thank him for his enthusiasm and energy.

    Shame on Tom Morris and the Old Vic for not addressing this. Had Morris actually meant what he had said in the intro, he would have taken some sort of action to redress the violence done to a young man whose only flaw was to believe that Morris actually meant what he said during the intro. It is embarrassing that mob-rule was allowed to assault a man with no consequences from the Old Vic. The proms was brilliant, but this is indeed a dark stain on it, and I have decided to suspend my patronage of the Old Vic for now. With audiences this repressive and stodgy, I fear now that classical music and many other classical art forms may die an inevitable death. I can not help but wonder how much the vigilante audience members that I witnessed last night resemble the mobs that crucified our Messiah nearly 2000 years ago. Hallelujah indeed. My sympathies go out to you, Dr. David Glowacki. Keep up your infectious energy and enthusiasm, and don’t be dissuaded by this wretched country! We don’t want to lose you. Remember: in England, the spoken rules are meaningless. We’re quite happy to hold ourselves and others in bondage to all the unspoken ones.

    • Ed says:

      I quite agree with you Justin, I too spoke with Mr Glowacki on the way out and he was by no means drunk. It infuriated me that another audience member should take it upon themselves to overrule what the director has expressly asked the audience to do.

      It ruined my night and I can quite understand why this is a dying art form if most of it’s regular audience all have a broomstick up their arse!

      And Richard, you are a liar. I watched the Mr Glowacki for most of the second half of the performace and he in no way impinged on you or your families space.

  6. Jessica Inzaghi says:

    I was sat in the dress circle for this performance and I’m glad it wasn’t just me who heard Tom Morris make a very clear public statement on the abandonment of the rules that create such a stifling environment in classical music performances.

    The guys at the front who were enjoying themselves, were doing just that. If anything, it enhanced the atmosphere in theatre just like opening a window in a stuffy room. I wonder if Mr. Morris will be making another public statement on the fact that an audience member was rather physically removed?

    From where I was sitting there appeared to be plenty of space in the pit. If that guy and his son found their experience was being ruining, they could have simply moved to another bit in the pit. It was made clear that tickets in the pit had been made cheap intentionally to encourage ‘outsiders’ attend and that historically the pit was always a lively area.

    Also I echo the sentiment that it is inappropriate for a journalist to name people like that. I note that their is no named journalistic authorship of the article.

  7. Michael says:

    I was present at the concert and am fascinated by the storm of anti Dave comments posted here.

    They seem to me rather over boiled. A man scared for the safety of his son! By a happy American man clapping and occasionally whopping when it got exciting.. Really!? His family were in danger, haha. Ridiculous! Or perhaps he is dangerously paranoid? Either way it seems he did little to protect them from this terrorism, except mainly give evil looks..

    I rather admire the curators vision of an informal event. Classical music especially and traditional theatre audiences have strict and rather staid audience behavioural standards. Yet there is an exciting and rapidly growing trend in immersive and interactive theatre seen through Punchdrunk, secret cinema and You Me Bum Bum Train which is very real and would scare the socks off some of the audience in Bristol.

    Personally I found it rather amusing and suspected him to be a plant, and the ejection to be as staged as the performance. If I was writing that it would definitely have happened in the show stopping hallelujah chorus.

    So. Lets lighten up a little and embrace a little change and challenge to the rather staid and stifling etiquette. At least consider there may be life outside of these rigorous and self imposed rules.

    I personally, and my friends at the event certainly are.

  8. Jenny Bell says:

    I got the impression that the audience was vibing off the guys who were clapping and cheering at the front. I was one of the people on stage, and I saw people smiling and joining in with them. I also loved it. It was thrilling to watch the singers respond to them. Tom Morris’s rules at the start licensed them to respond. He invited reaction. He requested tolerance.
    It was a risk on two levels: he’s asking for a shake up of very longstanding cultural conventions, whilst asking for spontenaiety during a religious piece, which may have been deeply moving for Christians. I thought the risk paid off, even though some people may be feeling irritated and disappointed. This conversation is fantastic. This is actually making history.
    I sympathise with anyone who was upset or annoyed by the fracas. I may well have been if I was in it. It seems that both sides of the argument feel that this happened because of a type of bullying. However, I think physically pushing/leading the men out of the space was totally gross and wrong – I hate thuggishness – and I also felt that IF the whooping and talking and clapping was irritating, then the people next to them could’ve simply moved to another spot, as they were standing. It all became pretty territorial, which is interesting in a space that costs five quid to stand in, anywhere.
    But this is a passionate response. And passion is good. More passion in classical audiences please; and particularly if this debate is the risk. Feelings should run high. The music was so good.

    • James Whittaker says:

      hear hear Jenny! There was a great energy I thought to the whole place generally aside from the thuggishness. Challenging the tyranny of the masses / received opinion (delete according to opinion) is a social good. Sometimes people go too far in that, but I’m not sure singing along to hallelujah and cheering counts as that!!!

  9. Dolors says:

    My boyfriend and I were near of this man. I think that his behaviour was embarrasing. I understand that the people show their enthusiasm and excitement about the concert (this is good) but always respecting others and of course the actors and they didn’t it. He and his friends could have fun but without disturb the people and distract actors.

    Moreover, I think that’s incredible that a person who is drunk can be in the event. You can enjoy a beer after and before a concert and therefore I don’t share this custom (to come in a alcohol drink in a theatre, but it’s my opinion).

    In spite of that I seemed that the music and the performance was so good.

  10. Mike Limb says:

    I was fortunate to attend two fantastic nights of the Bristol Proms last week.

    I have never been to a classical music performance before but was inspired to go after reading about the idea behind the event, aiming not only to bring amazing classical musicians to Bristol, but also to try and bring classical music to a new audience and a new way inventive way via the digital arts.

    I realise what Tom was trying to do was a brave idea. By trying to encourage a younger / new type of concert goer to these type of events, you do risk alienating your normal attendees, however, I felt with the introduction of the 5 pound pit tickets, while still retaining the option for a more expensive ticket (that was still very affordable) separate from this area, could allow both sets of audience members to enjoy the performances in anyway they choose to, while not hindering each others enjoyment of the music.

    I personally was not at the performance on the Saturday night so cannot comment specifically on the event referred to here, but I find it hard to imagine that Dr. Glowacki was drunk and a danger to others around him (when I attended a sold out performance on the Friday evening there was plenty of room in the pit to prevent people getting in each others way, and in light of the comments posted here the idea he was drunk unfair and unfounded- I am sure very few of us could be articulate about quantum mechanics at the best of times, let alone with several beers on board.)

    I don’t really see this as a debate and nor do I want to argue about what exactly happened, but I want to impress how much I enjoyed the event and its intentions and how disappointing it is that on the final evening of the event, a person who, as I understand, was fully engaged and enjoying the event in a manner that these Proms aimed to achieve, was ejected and unable to fully enjoy a performance.

  11. Miss Manners says:

    What a shame that people like “Alyssa” can’t see the value in manners. The purpose of manners and consideration is not to save the planet but to make everyday interactions pleasant.
    I’m all for people enjoying themselves at events like this as long as they don’t interfere with anyone else’s enjoyment.

  12. Adam Peck says:

    I too was at the concert on Saturday night, sitting in the Pit.

    David Glowacki may well have been enjoying the music, but it seemed to me as though he was as interested in drawing attention to himself as he was to appreciating what was happening on stage. I am fairly sure he will not mind being named in the article above, after all he stayed behind after the show to address what had happened, and made quite a spectacle of himself in the Stalls bar too. “Hunting him down”, as Justin Saunders put it, was not difficult.

    Personally I was thoroughly enjoying the performance until he started distracting me at the top of the second half. (He wasn’t standing there for the first half). I felt increasingly anxious as he went from smiling and occasionally whooping, to waving his hands in the air, chuntering (as far as I could hear from about 8 rows back) to his friends during quieter moments, and whooping more loudly and (what appeared to me) quite randomly. The fact that he kept turning to his friends seemed to me as though he was seeking their approval; his friends seemed unsure, embarrassed even.

    Whatever the reasons for David’s behaviour (thoroughly engrossed in the music, wanting to test Morris’ rules, overwhelmed by the moment, wanting to make a spectacle of himself), he seemed totally unaware that a large proportion of the 550-strong audience were being affected by his behaviour. I should just qualify this statement by saying that people beside me were commenting on him between movements, someone told me people in the gallery were peering over the balcony to see what he was going to do next, and that looking around the audience one could see that people were clearly unsettled, moving, talking to their neighbours, frowning etc.

    You might say that was a choice, that audience members chose to look at him rather than what they had come there to watch. But when is a distraction too big to ignore? When does a reveler become a heckler? When does one person’s expression of enjoyment wreck the show for others? And who has the right to say enough is enough?

    From where I was sitting, David was directly in my line of sight to centre-stage (where most of the soloists stood) and I could not help being distracted by him when watching. His flailing arms and noise affected my enjoyment of the work and I resented him for that. I was therefore happy when he was ejected – I felt relieved and continued to enjoy the show as I had done in the first half. Before this moment he had made me feel anxious. I didn’t know what he was going to do next, and it seemed to me that he was ratcheting up the volumes of his noise and movement quite arbitrarily (i.e. not in response to what was happening on stage).

    I felt that he was testing the rule that Morris had laid out before the show – “You’re not allowed to say shush” – that he was conducting an experiment into how far he could go, not, as some seem to think, truly enjoying the show. Obviously no one can say for certain. (I wouldn’t even trust David to answer that honestly).

    However, I can say that one man’s “enjoyment” negatively affected other audience members enjoyment, and to me, this is the crux of the matter. Should 500, 200, 100, 10 people endure 1 person’s behaviour for the sake of that 1 person, or should they act for the sake of the majority. I, for one (and reading above, was clearly not alone), was happy when he was ejected, not because I was averse to him enjoying himself, but because his enjoyment curtailed mine (and others around me). Whether he was aware of this or not is another matter, but surely that is an unspoken contract of any performance (with or without Morris’ rules) – you respect your fellow audience members – after all have they not also invested their time, money and effort to be there like you? What makes one person’s enjoyment more important than another’s?

    As a footnote…

    On the first night of the Bristol Proms Morris articulated the “Shush Rule” with a useful clause, saying “You’re not allowed to say shush, but you must respect the people around you”. He failed to add that clause on the Last Night. Perhaps therefore we should forgive David for his interpretation of the rule, and learn that if there are to be rules at future Bristol Proms then they must be comprehensive and clear. Of course we all want to enjoy ourselves, but in order to do that we must protect the whole audience’s right to do that.

    What to do about people like David’s enjoyment then? Hmmm… I’m not sure.

  13. Rose says:

    I was one of the performers on Saturday night. I have to say that David’s approach in principle wasn’t a problem for me. It’s refreshing to see people reacting to the music we make. However, as proven by this debate he selfishly created an environment where he stole attention from the stage, and distracted both performers and his fellow audience . Think he took his point too far and was disrespectful of the huge concentration and dedication going on on stage, particularly from the stellar soloists. It’s a shame that this discussion is purely about him and not about the interesting and invigorating production and the audience’s reaction to that!

  14. Mike Seignior says:

    Here, here to Adam Peck

    As I said above this was a wonderful event and piece was well staged and the cuts and alterations completely appropriate to heighten the drama and keep a sense of story. I thoroughly enjoyed it and the audiences reaction to it.

    However I was happy to see this noisy chap ejected simply because his behaviour did not correspond to what was taking place and lacked any sympathy or respect for either the performers (whose feelings and exertions, as yet, have not been referred to) or those of the audience. I was particularly galled at the placing of pints of beer on the stage which seemed not only disrespectful to the performers but also simply something else for them to have to look out for. In Tom Morris’s brave idea would the performers have been at liberty to kick them into the faces of those ill advised people who placed them there? Maybe a little too Shakespearean for this event.
    Tom Morris’s exhortation to respond with enthusiasm and joy was all very well but this piece has pathos and emotion and it was notable that often the audience responded with rapt silence, for example, when Christ was flayed and crucified, rather than with loud applause which just seemed the appropriate response for such moving moments. So silence can also an expression of joy and wonderment, it simply isn’t necessary to go public on it all the time. Sadly Tom Morris didn’t mention this.

    So as with all art, a little bit of knowledge and sensitivity can improve your (and others) appreciation of it no end. I find it rather sad that the expression ‘staid behaviour’ (Michael, above) is levelled as a criticism…… in order to be progressive, are we supposed to shout and holler as the emotional response to everything that we experience? I think not. As for classical audiences, well they are very loud and enthusiastic (just attend any BBC Prom, you’ll see lots of young people there) but they do it after the beautiful music has finished or sometimes express their displeasure when it is a load of old crap (many of them know the difference you see).
    So Tom Morris’s appeal to ignore convention is a little trite and populist; probably meant with the best intentions but we were sitting in a classical proscenium theatre experiencing an end on performance of Handel’s Messiah not a fully promenade performance in a warehouse spatted with the blood of Christ’s flaying or having him wash our feet. Now that Mr Morris might be progressive and elicit a truly different and authentic response.

  15. Sam says:

    I’d agree wholeheartedly with Adam. He was seeking attention rather than enjoying himself. He got a laugh the first couple of times, which obviously spurred him on to exaggerate the behaviour. It was distracting and annoying. It is one thing to experience the show as you want to, and another to disrespect the other people in the theatre and the performers themselves.

  16. Mark Stephenson says:

    My wife and I were at the Old Vic on Saturday for Handel’s Messiah having travelled up from Plymouth. And what and absolute treat. We really did enjoy the whole evening. We also witnessed David Glowaki’s ejection from the auditorium and although I could see that there were a few people who had taken offence to his enthusiasm, I for one didn’t feel that he was too disruptive. The three rules laid down by Tom Morris before the start of the performance being that a) Drinks were allowed in the auditorium. b) That people were allowed to clap, cheer and express themselves in what ever way they felt comfortable and c) That there was to be no sushing allowed. Perhaps b) should have included additional information stating that clapping and cheering should only happen in between or at the end of each performance. Classical music has always commanded a formal approach from it’s audiences – and this formalness does not invite the modern out pouring of enthusiasm to happen. But I did feel sorry for David as he was really enjoying the evening and I thought he was pretty harmless. The other members of the audience could have reasoned with his rather than eject him. But perhaps I still have much to learn about the under currents of etiquette which exist within audiences of classical concerts and performances

  17. Mark Stephenson says:

    My wife and I were at the Old Vic on Saturday for Handel’s Messiah having travelled up from Plymouth. And what and absolute treat. We really did enjoy the whole evening. We also witnessed David Glowaki’s ejection from the auditorium and although I could see that there were a few people who had taken offence to his enthusiasm, I for one didn’t feel that he was too disruptive. The three rules laid down by Tom Morris before the start of the performance being that a) Drinks were allowed in the auditorium. b) That people were allowed to clap, cheer and express themselves in what ever way they felt comfortable and c) That there was to be no sushing allowed. Perhaps b) should have included additional information stating that clapping and cheering should only happen in between or at the end of each performance. Classical music has always commanded a formal approach from it’s audiences – and this formalness does not invite the modern out pouring of enthusiasm to happen. But I did feel sorry for David as he was really enjoying the evening and in my own humble opinion I thought he was pretty harmless. Perhaps the accosting members of the audience could have reasoned with him rather than eject him. And perhaps I still have much to learn about the under currents of etiquette which exist within audiences of classical concerts and performances

  18. Naomi says:

    As a YOUNG classical musician (26), I just want to address some of the classical-music-bashing that is going on here.

    First of all, as a practising musician, I have to be honest – when people make noise during your performance, which you’ve probably been practising anywhere from 3 to 8 hours a day for, for the past several months, it makes it nearly impossible to retain your concentration. On top of that, it’s extremely demoralising to feel that you’ve worked hard for several months, you’ve got this one chance to play it for people, and the audience members can’t handle paying attention to you for a whole 60 minutes.

    Second, whether from the point of view of a listener or a performer, one should keep in mind that classical musicians play on acoustic instruments, which (especially during the quiet bits!) aren’t really much louder than an unamplified human speaking voice. We don’t have the sheer amount of decibels as an amplified rock or jazz group. Therefore, every sound the audience makes is amplified about tenfold, for both the performer and audience. Yes, people really will hear your cellphone if it rings mid-performance, and it really will ruin their experience.

    Finally – about appealing to younger audiences / hosting informal concerts / etc. There is a great venue in New York, called Le Poisson Rouge, which is half-bar, half-performance space. They host some of the most important classical concerts happening in the city right now, with internationally-renowned musicians. Yet, the audience sits at little tables, and you can even order food and drink to your table during the performance. Despite the eating and drinking and back-and-forth of the waiters, it is one of the quietest venues I’ve ever been to. This is because everyone in the audience actually wants to be there, and is so rapt that they forget to even cough. (There is often a large number of professional musicians in the audience.)

    What’s my point? You can have a cool, alternative venue, with food/drink/exciting programming, but the audience still has to be respectful. Classical musicians work really hard to put on a show for you; the least you can do is listen to them as deeply as you can.

  19. John F. says:

    I was there. The guy took my attention from the stage and it would have been difficult to make a cup of coffee with the distraction he caused let alone sing an entire classical piece from memoryand i parts! You try it 2 feet away from you. I go clubbing and of he did that to the DJ he’d have been bounced straight out. We thought he might be a plant! Morris’s rules yeah ok. Idiot on the way to ruining the performance er no thanks. I didn’t pay to see him do it on his own.

  20. Anon says:

    This is a glazed review scattered with names a la gossip mag with very little substance or knowledge attached.

    The guy was a little distracting and it is an interesting debate. Still, the Hallelujah chorus was pretty powerful stuff and what was happening on stage outweighed an audience member’s faux pas.

    I’m sure Bachtrack.com/reviews will have a more professional review posted soon.

  21. Svetlana Vanoza says:

    This is gold-mine social commentary. So excited I am to find it! To all contributors thank you very very much. I am in PhD dissertation with Slovenian analyst Zizek. Kinds of things like this, with man removed by self-appointed bourgeois enforcers in middle of Hallelujah song during production about Christ’s persecution, is just what I need! I look hard for real examples how middle class practically enforce their bourgeois morality and their power structures. This is very poetic example too. Imagine if Glowacki then taken on-stage and crucified as part of performance. :o) I never thought to study classical music culture, but now I will!

    A few years ago, Glowacki study and write papers which I read in this area: http://www.jcrt.org/archives/11.1/glowacki.pdf
    But all his papers now are scientific. I did not know that still he is active and doing field experiments in cultural theory and panoptic structure! Maybe he will write more papers now he has some case study data.

    I am perfectly excited to find this material. All comments here provide deep insight into middle-class panoptic power, allowed structures for bourgeois self-identity, and collectively imposed boundaries to bourgeois freedom. Thanks again, Absolutely fascinating stuff. My advisor will congratulate me to find this example. Email me please or find me on google if you would like to contribute more! please excuse english, not my native.

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