An elderly couple was sitting by the window on an airplane. There was a photo of a young woman on the window sill. The flight attendant noticed the photo and was touched by the couple traveling with it. The flight attendant offered them a glass of juice and said, “Please offer one to the person sitting by the window.” Naturally, the elderly couple was touched. If the attendant had simply been touched and not provided the juice, the passengers would not have been grateful. The act of offering a glass to the person sitting by the window demonstrates the excellence of service rooted in emotion. Being sensitive to people’s feelings is fundamental in the service industry. Mastering true service, based on observation and inference, is also an important skill. It seems that top professionals also have the ability to convey “non-verbal messages” to others.
Verbal communication will continue to be an important skill as globalization progresses. Communication is fundamentally a two-way exchange between a speaker and a listener. Care must be taken when doing so. When people converse, they often convey nonverbal messages through eye movements, facial expressions, and gestures. These nonverbal messages are called nonverbal messages. People often place importance on nonverbal information, such as vocal intonation, posture, and the atmosphere of the situation. Reading the other person’s nonverbal messages can reduce misunderstandings. Reading nonverbal messages can reduce misunderstandings in communication.
Zeami is the Noh actor who developed Noh into a profoundly poetic drama. For Noh actors, the stage is their lifeblood, and they always strive for an appealing performance. Noh minimizes and condenses all expression as much as possible, appealing to the audience’s imagination. The audience creates an image and completes the performance in their mind’s eye. Noh values flowers. “Flowers” refer to the state in which the actor and their performance evoke emotion in the audience. “Flowers” bloom when the audience is captivated. Having a wide repertoire is essential for survival as an entertainer. On the other hand, connoisseurs tend to be happy to go see the same plays with the same actors multiple times. Connoisseurs go to see plays multiple times because the actors’ performances vary from day to day. Connoisseurs also enjoy being able to distinguish between the many repertoires that actors have. The gaze of connoisseurs can also enhance an actor’s performance. There also seems to be a trend that actors and audiences work together to enhance the art form.
