Page 114 - How to Shine on Stage

tal burden, the performance of the piece played in such circumstances
will reflect this tension.
In order to make reasonable and realistic assessments of perfor-
mance stress, it is essential to consider the performance preparation as
a whole. From a psychological perspective, each phase of performance
preparation contains situations that can trigger tension, stress and anx-
iety (Kohut, 1992):
112 Phase 1: decision to perform

Effective coping with performance-related stress has to begin before the
performance itself. Important factors that need to be acknowledged here
How to Shine on Stage for this selection. Individuals generally have the freedom to choose the
are the selection of musical pieces we intend to perform and the reasons
pieces they want to perform. However, the selection can also be fixed
(competitions, auditions). When choosing the piece, the performer needs
to consider the importance of choosing one that aligns with their skill
level. It is of key importance that the performer likes the piece they in-
tend to perform. While the choice must certainly be at least partly ad-
justed to resonate with the audience’s tastes, the foremost consideration
must be the performer’s own perspective, as the interpretation is fun-
damentally shaped by it. When choosing a programme, the performer
should be aware of their motives and follow them. Neglecting to do so
can make the mental and physical strain of practice increasingly difficult
to withstand. If the performer is strongly influenced by the opinions of
others, a number of potential stressors can arise already during the per-
formance preparation.
It is essential to maintain a sense of control in order to cope with
stress. If the performer feels that they can manage the situation, the per-
ceived stress is considerably lower. From this standpoint, performing is
stressful, since the performer believes that there is no other option but to
perform. This thought of theirs is untrue. Performing is their decision,
as is (usually) the choice of programme. If they acknowledge their active
role in the performance, as well as their ability to choose, they can great-
ly undermine the power of potential stressors from the very first step.

Phase 2: active psychomotor preparation
for a performance
Performers differ considerably as to their preparation for performances.
What is effective for one person may be ineffective for another. The prac-