Page 108 - How to Shine on Stage

stimuli, perhaps the heartbeat or deep breathing, perhaps the tension/
relaxation in a particular area of the body. Again, we focus for 20 sec-
onds on the first kinaesthetic stimulus, then on the second, and finally
on the third. Then we open our eyes and enter the second cycle, where
we shift our attention twice: we choose one visual stimulus, then another.
We close our eyes and focus on one auditory stimulus and then on anoth-
er. With eyes closed, we repeat this again with the two selected kinaes-
thetic stimuli. In the third cycle, we focus on each stimulus modality only
106 once; that is, we focus on one visual stimulus for 20 seconds, on one au-
ditory stimulus for 20 seconds with eyes closed, and on one kinaesthetic
stimulus for 20 seconds with eyes closed. In the second and third cycle,
we can choose the same stimuli as in the first cycle, or we can choose dif-
How to Shine on Stage we focus on each stimulus for 20 seconds. This technique is learnt by
ferent stimuli each time. In the second and third cycle, as in the first one,
firstly receiving external guidance. Afterwards, we can record our voice
to use the recording as guidance during practice. Once we have mas-
tered the internal timing and are guided by our internal clock, the prac-
tice can be implemented in a variety of circumstances (e.g. on the bus,
during a break). This practice helps the performer to quieten their mind
before walking on stage in a very short time.
The STOP technique is rooted in behavioural-cognitive thera-
py (Cina, 2021). It is a technique for regulating mental distractors and
stopping disruptive automatic thoughts. Automatic thought is a mental
flow existing alongside the apparent mental flow. The mental practice is
aimed at revealing automatic thoughts, as we are mostly unaware of hav-
ing them. Automatic thoughts are generally expressed through emotion-
al and physical responses, and it is only with training of their conscious
recognition that we can identify the thought that preceded a particular
feeling. We generally accept automatic thoughts as truth, without exam-
ining them. The technique is initially performed by writing down all of
our automatic thoughts that have arisen during the practice or simply by
recording them on the phone while we practice. The next step is to learn
to stop these thoughts; if we are of the visual cognitive type, we may vis-
ualize a stop sign every time an automatic thought arises. If we are of the
auditory type, we may hear a commanding internal voice saying “Stop”
after an automatic thought emerges. But if we are of the kinaesthetic
type, we can imagine someone putting a hand on our shoulder and stop-
ping us after we have had an automatic thought. This technique can be
used before or during performances: when disruptive thoughts begin to
overwhelm us, they can be easily stopped with the aid of a visual/audi-
tory/kinaesthetic stop prompt.