Page 128 - How to Shine on Stage

Another important requirement in musical performance is the abil-
ity to interact with the audience, which involves transferring the results
of musical practice to a concert setting. Flow can arise during practice or
during a concert, with live performance before an audience as the factor
of facilitation and promotion of the conditions to experience flow (Biasut-
ti, 2017). Performers play best when they have an audience, because the
concert situation stimulates multi-layered processes of engagement with
the audience in a transcendent experience. The concert context and the
126 audience can stimulate the experience of flow and inspire the perform-

ing artist. The joint immersion in the musical experience with the audi-
ence during a live performance amplifies the experience of enthusiasm.
In spite of this, it is difficult to predict the on-stage occurrence of the
How to Shine on Stage garded here is that of the pressure of performance anxiety, which reduc-
flow, as it depends on many factors. A contrasting effect not to be disre-
es the likelihood of experiencing flow.

3.3.2.1 Individual and Contextual Differences
in Experiencing Flow
Csikszentmihalyi (1990) states that, although it is difficult to control and
direct the conditions for the experience of flow, the greatest progress can
be achieved by developing the right mindset. Internal motivation can be
a key requirement to enter a state of flow, while self-confidence and a cer-
tain level of concentration can help to sustain it.
A number of external and internal circumstances can disrupt the
onset of flow. External circumstances are contextual aspects and neg-
ative environmental factors, whereas internal circumstances are, for
example, anxiety and impatience. A hectic and loud environment can in-
terfere with the concentration needed for flow. Weather conditions such
as wind or rain can hinder outdoor performances. If one doubts one’s
own abilities, anxiety develops. Impatience affects concentration.
However, certain conditions can encourage flow. The surrounding
social environment can offer the performer the right stimulus for optimal
performance (Tan & Sin, 2019). It is also important to have enough time
to prepare for the performance. Musicians need to develop an awareness
of themselves and their skills in order to develop their capabilities. The
connection with the body needs to be developed in accordance with the
current interactive and embodied approaches to human cognition (Schi-
avio et al., 2019; Schiavio et al., 2020). Although there are individual and
contextual differences, we can use a variety of strategies to deliberately
induce flow, improvisation being one of them. Improvisation stimulates