The excitement before the performance - the so-called variety excitement - can ruin a public appearance, even if it is the fruit of long and stubborn rehearsals.
The thing is that on stage an artist gets into an unfamiliar environment - a zone of discomfort. And the whole body instantly responds to this discomfort. Most often, such adrenaline is useful and sometimes even pleasant, but in some people pressure can still rise, the arms and legs tremor begin, and this has a negative effect on motor skills. The result - the performance is not at all the way the performer would like.
What can be done to reduce the influence of variety excitement on the performing activity of a musician?
The first and the main condition for victory over stage excitement is experience. Some people think: "The more performances, the better." In fact, the very frequency of the situation of public speaking is not so important - it is important that the speeches should be carried out with targeted preparation.
The second no less necessary condition - no, this is not a perfectly learned program, this is the work of the brain. When you step on the stage - do not start playing until you make sure that you understand what you are doing. Never allow yourself to play music "on autopilot." Control the whole process, even if it seems impossible to you. It really only seems to you, do not be afraid to destroy the mirage.
The very work and mental activity distract from excitement. The excitement just does not disappear anywhere (and never disappears), it just has to go to the background, hide, hide, so that you stop feeling it. It will be funny: I see my hands shaking, but for some reason this shaking does not interfere with pure play of the passages!
There is even such a special term - the optimal concert state.
Third - still reinsure yourself and learn the works as it should! Fears to forget and fear not to play what is badly taught are common fears among musicians.
If you have to play by heart, it is very important to develop a non-mechanical memory, or in a different way, muscular memory. The work can not be known with one "fingers"! Develop logical and investigative memory. For this it is necessary to teach the work in separate pieces, starting from different places.
Fourth. It consists in an adequate and positive perception of oneself as a performer. With the level of skill, of course, self-confidence grows. However, it takes time. And therefore it is important to remember that any failure is forgotten by the audience very quickly. And for the performer, he will serve as an impetus for even greater efforts and efforts. You should not engage in self-eating - it's just indecent, damn you!
Remember that variety excitement is normal. You just need to "tame" it! After all, even the most experienced and mature musicians admit that they always experience excitement before going on stage. What to say about those musicians who play in the orchestra pit all their life - the views of the audience are not riveted to them. Many of them are already, unfortunately, almost unable to go on stage and play something.
But young children usually do not have much difficulty with performances. They are willing to speak, not at all embarrassed, and enjoy the pleasure of this occupation. What is the reason? Everything is simple - they do not engage in "self-flagellation" and relate to the performance simply.
So we, adults, need to feel like small children and, having done everything to reduce the effect of variety excitement, to get joy from speaking.
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