JohnB wrote: ↑
Thu Dec 28, 2017 6:30 pm
AndreiKrylov wrote: ↑
Thu Dec 28, 2017 4:22 pm
Just tell it and convince yourself - and
you will have NO FEAR!
Some people are more prone to it than others. There are many renowned classical musicians at the very top of their powers who suffered greatly from performance anxiety throughout their careers. Sadly, some musicians even resort to beta blockers (I heard a violinist saying "well it stops my arm shaking" in an interview).
There is a very interesting article on the subject, dating from 2014, in the UK Daily Telegraph newspaper (online).
Thanks John! Interesting article!
http://www.telegraph.co.uk/culture/musi ... ecret.html
few quotes from it:
"ten years ago, during a performance of Mozart’s 23rd Piano Concerto, he suddenly started worrying that he was about to forget the next note.
“The feeling got stronger and stronger,” he recalls now. “I didn’t actually forget anything but it felt like the water was rising and lapping just under my nose.” Osborne was so disturbed by this experience he sought help from a cognitive therapist. “I learned a few tricks, like imagining I was somewhere lovely and unthreatening before a performance, like a flowery meadow. It helped, but I never felt it was a long-term solution.”
Then, a few years later came the real bombshell, during a performance of Rachmaninov’s First Piano Concerto. “This was like an earthquake because this time I really did have some memory lapses, and this made me think the whole performance was about to go off the rails. It was so disturbing, and it kept happening. I really began to wonder whether my career was over. Each time, before I went on stage, I began to think, ‘How can I go on playing the piano, if this is what it’s going to be like?’”
Osborne is not alone in his suffering. Many musicians have similar terrors, and often they involve alarming physical symptoms such as a racing heart and trembling fingers. Classical performers are especially prone to it, because accuracy and virtuosity are at such a premium. Make a mistake in a jazz break, and few will notice; make one in a string quartet and everybody will.
Unsurprisingly most musicians like to keep their problems with stage-fright under wraps, ..."
"There are various ways to tackle this debilitating condition. One of the most popular is also one of the easiest: you just take a surreptitious swig from a hip flask, as many orchestral musicians have done and still do, or you pop a pill. These dull the feelings of anxiety that can lead to mistakes. A 2012 survey among German orchestras found that almost a third of musicians used Valium or beta-blockers, which are far more effective than alcohol, and with fewer sideeffects.
The problem is that, by dulling nerves, pills or alcohol also dull the edge of tension and inspiration that makes for a great performance. "
Then there are the psychological aspects, which include unhelpful thoughts, like imagining the performance is going to be a disaster."
“The first one you can treat with things like exercise, which lower the amount of tension-inducing hormones in the body, such as cortisol,” says Williamon. “For the second one, cognitive therapies are very effective. It’s a matter of getting the musician to think about the situation in a more rational way. For example, instead of thinking that the audience is the enemy, and the performance will either be perfect or a disaster, you retrain the performer to accept that there will inevitably be a few mistakes, and the audience is on their side.”
Well.. this article perfectly confirms points that I brought in this subject before.
1. Performance is often not a "pinnacle" of someone music life, but recording in best technical and mental shape and while inspired is!!!!
2. Solution for stage fright is psychological self-training and change in someone global attitude to the subject;
a) one have to train oneself to have no fear by implanting this idea deep in subconcience.
b) it should be not only particular training regarding music only, but general one regarding different aspects and circumstances in life...then it will work for sure... one have to teach himself how to be able to physically overcome all kind of fears and anxieties one have, by long, years long physical and mental training...
3. Why we are afraid? Because of audience ?
But why do we play music - because of audience only? really?
Do we read great Poetry or Novels because we have audience who hear our reading??
But when we read those poems - such a great music and great emotions and passions play in our mind!!
And so what? do we really want to perform these emotions for audience?
NO, NO NO!!!
We feel enriched by living a moments in this, not because we performing it to someone!!!
and then we come to my third point.
3. Performer should not give a damn about audience!!!
When he play - he (probably) enrich himself by touch of great music which he plays!
But .. there is another problem ... could he be really touched by something which he already repeated at least 1000 times? ? Could it be?
- Yes he could (teach himself another psychological "trick") and make himself to believe that he does (after 1000 times of playing and rehearsing it)
But... just think about your own experience - when have you been touched and transformed the most? -
first time when you heard or seen something really beautiful? or after you've seen 1000 times?
After you took it apart completely, calculated and recalculated it, measure and prepare all your feelings and emotions all smallest movements which you going to demonstrate to the audience!!!
Is it really the highest spiritual experience, the highest point of someone musical life to play something in 1000 or 10000 time to audience?...
It seems more like another completion of the beautiful ritual in cathedral of art which have immense amount of small and exact details and beautifications but could be actually quite meaningless mechanical exercise for someone who doing it ... or perhaps not?