Page 98 - How to Shine on Stage

arm, thumb, index finger, little finger, karate point. In the third step,
we focus on the problem whilst rolling our eyes and murmuring a sim-
ple song. This activates the right brain hemisphere. All along, we tap the
gamut point. A more exact gamut point process is to close the eyes, open
them, look sharply to our lower right and sharply to our lower left with-
out any head movement, roll our eyes clockwise, then counter-clockwise,
and proceed to murmuring the song for about five seconds. Then we
quickly count from one to five, and murmur the song again for five sec-
96 onds, and finally move on to the next step. In step 4 we repeat the process
of step 2. This concludes one tapping cycle. We use the scale to evaluate
the severity of the problem anew. If it has decreased, we can conclude the
tapping session, otherwise we repeat the cycle (Oražem, 2021).
How to Shine on Stage Emotional Catharsis Technique

A common problem that musicians have with emotion regulation is the
inability to let go of emotions. Even after the musician has recognized
the inadequacy of irrational thoughts, they struggle with the removal
of these thoughts from their mind (Singer et al., 2012). With emotional
catharsis, which is a means of pouring out repressed emotions, we can
achieve the emotional balance we often seek. The practice is simple and
includes five steps: (1) observation of emotions as they are without trying
to change them, (2) evaluation of the experience and sensations accom-
panying a particular emotion, (3) cultivation of the ability to not iden-
tify oneself with one’s emotions, (4) oral naming of emotions or putting
them down in writing, and (5) conversation about emotions with others
(instrument teacher, fellow musicians, therapist, etc.).

The Strategy of Realistic Setting of Goals Related
to Pre-Performance Emotions
In the last years, the strategy of realistic setting of emotion-related goals
has gained prominence in the management of pre-performance emo-
tions (Osborne et al., 2020). The new conceptualization of emotion-re-
lated goals acknowledges the emotional experience and expression of
emotions (Greenaway & Kalokerinos, 2019). This paradigm distinguish-
es one-dimensional goals into emotional experiences (e.g. to feel less per-
formance anxiety) and expression (e.g. to show less performance anxiety
on stage), and argues that emotional goals can in fact be two-dimension-
al, so that different combinations of desire for emotional experience and
expression are possible. These combinations may include aligned as well
as unaligned goals related to emotional experience and expression. This