Base tension levels too high? It may trigger stage fright

Base tension levels might be too high, like holding these hand grips!

If you suffer from performance anxiety, you may want to consider if you have a problem with base tension levels.

Everyone has a base level of tension or a collection of muscular movements – a ‘set’ – that they take into every activity. FM noticed this right at the beginning of his investigations into his own vocal hoarseness. He found that he made three actions with his head in relation with his body: he pulled back his head, depressed his larynx, and sucked in breath. He first noticed himself doing these things while reciting. Soon, though, he found he did them to a smaller degree in normal speaking, too.[1]

When we are engaged in an activity that requires more of us – like reciting a particularly dramatic piece of Shakespeare, or playing in front of an audience – we do our habitual ‘set’ of muscular tension more. FM realised that the three ‘harmful tendencies’ that he noticed in himself were relatively small and didn’t have any particular effect during normal speaking. When he recited, however, the three tendencies were larger and more pronounced, and he would become hoarse while he was acting.

I recited again and again in front of the mirror and found that the three tendencies I had already noticed became especially marked when I was reciting passages in which unusual demands were made upon my voice … what I did in ordinary speaking caused no noticeable harm, while what I did in reciting to meet any unusual demands on my voice brought about an acute condition of hoarseness.[2]

FM’s three harmful tendencies had an immediate and negative effect upon his vocal prowess. But the physical tensions that we carry around with us on a daily basis may prove problematic when we are about to perform in a very different way.

The Yerkes-Dodson law

The Yerkes-Dodson Law has been around since 1908, and describes the relationship between arousal and performance. Put simply, if you are engaged in a fairly demanding task (like performing) and want your performance level to be high, then you need to hit a ‘sweet spot’ of arousal. You don’t want to not care or not feel anything at all, but you also don’t want your system to be so bombarded with stimuli and so full of stress hormones that you’re hitting the limit of what you can handle.

If your base tension levels are high, you sit at the top of the Yerkes-Dodson grave U curve.

We know that stress hormones are likely to create a level of arousal that could impact upon our performance – ageing parents, unruly kids, a difficult job are all likely to take their toll. Sian Beilock explains:

People with chronic stress in their lives are likely to sit at the top of the U under normal conditions, so when they are faced with the added pressure of public speaking they may be more likely to perform poorly than those who normally sit on the uphill side. If a spouse who is anything but a calming entity is put into the mix, the consequences can be disastrous.[3]

Physical stimuli matter too

We often forget, though, that physical factors are likely to do the same thing. Trainer Don Clark tells a wonderful story about a colleague who was asked to give a training session for a meat packing company, and was given for his training room a cold storage area! The trainees had so much excess environmental arousal from the cold room that the trainer had to work very hard to reduce the arousal factors within his course so that everyone could learn effectively.[4]

Physical stimuli might not be all external, however. The base levels of tension that we take with us everywhere in the course of our day are likely to have just as big an impact. Think about it: FM Alexander noticed that he pulled his head back MORE when he was about to recite some demanding Shakespeare. Similarly, we are likely to increase our base tension levels in response to the stimulus of an impending performance:

  • I walk around every day with (for example) very tight trapezius muscles and resultant raised shoulders. I’m already at a fairly high level of physical arousal. My system is irritable (used as a technical term here).
  • I raise my shoulders a little every time I talk, or walk, or buy an ice cream.
  • If I am about to do something more demanding – like perform in a concert – I will do the shoulder raising even more.
  • This shoulder raising is likely to have a negative impact upon my ability to perform. This is because it sends my arousal level into the danger zone where my system is overloaded.

The solution? Reduce your base tension levels!

There are a lot of things that can help: breathing exercises, yoga, meditation, forms of therapy like CBT all help. But Alexander Technique is uniquely a tool that helps you to notice and change your habitual use of yourself. You can look in a mirror like FM did, and see if you can spot and then prevent the physical movements that you make as a precursor to every activity. Or you can book in to see someone like me. We can work on reducing your base tension levels using a combination of discussion and hands-on guidance.

If you are more relaxed – physically and mentally – on a daily basis, you will be more able to cope with the increased demands upon your system that performing involves. And then you’ll be better able to give the truly captivating performance that you most desire.

[1] Alexander, F.M., The Use of the Self, London, Orion, 1985, p.26.

[2] ibid., p.27.

[3] Beilock, S., Choke, London, Constable, 2011, p.316.

[4] Clark, D.R. (2010). Arousal and Performance. Retrieved from http://www.nwlink.com/~donclark/performance/arousal.html. Retrieved on 27 June 2019.

Image of hand-grips Elfer [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0/)]

Image of Yerkes-Dodson graph from https://en.wikipedia.org/wiki/Yerkes–Dodson_law, accessed 27 June 2019.

What’s the best way to handle fear? One step at a time.

Jen with her bike: she had to handle fear of hills and traffic

I rode my bike downhill on a traffic-laden major road in Bristol last Saturday. No big deal for many of you, I am sure. But it was a pretty big deal for me. I’m fairly new to cycling, and I’ve not been cycling on the road for very long at all. And it was a big deal for another reason: the hill. Because of experiences I had in childhood, the prospect of cycling down steeper inclines has been a bit of a hurdle for me. However, not only did I cycle on one of the busiest roads in Bristol, but I cycled down one of the bigger hills in Bristol, too.

So how did I get up the courage to do this? How did I handle fear and learn to do things that scared me?

Deliberate practice: the way to handle fear.

The answer is practice. I worked up to it (or down, depending on your point of view…). I spent a fair while cycling just on (flat) cycle paths in Bristol and Cardiff, learning to be comfortable on my little folding bike. Then I started cycling on quieter roads. When I felt okay on quiet roads I started using the busier roads, but at quiet times of day. Then I started cycling up and down hills on quieter roads…

Do you see the pattern here? I constructed a series of small steps that would enable me to build up my confidence, while all the time expanding the range of what I could accomplish. I also had some lessons early on that gave me some good professional advice, so that I knew the technical aspects of what I ought to be doing. And now I feel sufficiently comfortable to be able to make my way along steepish, busy roads in the centre of the city. Not bad going!

Deliberate practice in the performance arena

This is exactly the system that I use when I teach my courses on overcoming stage fright. I take a group of people who very often don’t even want to sit in front of a group, and through the delivery of some technical advice and a series of exercises I lead them, step by gentle step, to be comfortable giving off-the-cuff presentations or musical performances. And my students have the same experience as me: what they thought at the beginning of the course as being impossible, by the end of six short weeks becomes easy. They learn to handle fear in a constructive way.

This is the power of working in small steps. It is not for nothing that FM Alexander, the creator of the Alexander Technique, said that 

Confidence is born of success, not of failure, and our processes in education and in the general art of living must be based upon principles which will enable us to make certain of the satisfactory means whereby an end may be secured, and thus to command a large percentage of those satisfactory experiences which develop confidence[1]

Alexander is asking us to make certain that we construct for ourselves a pathway towards the goal we want to achieve. And we must make the steps in our pathway small, so that we can build confidence from each small success that we have.

Handling fear in three points

So if you have a goal you want to achieve, try to do these three things:

  • know what the goal is
  • construct a pathway towards your goal, with lots of small achievable steps
  • get professional advice on any technical aspects you need to make success easier (like cycling lessons!)

And if you’re interested in overcoming stage fright, be sure to sign up for my next course. I’ll be running it in person and via Skype before the end of the year!

[1] Alexander, FM., Constructive Conscious Control of the Individual, NY Irdeat 1997, p.384.

Change to a more constructive performance mindset with one word

Different coloured brains to visualise changing to a more constructive performance mindset.

Can you change from a destructive performance mindset to something more beneficial with just a single word? Is it too good to be true? Put bluntly: is Jen indulging in click bait headlines?

Actually, I’m not. I firmly believe that it is possible to change your mode of thinking away from a performance mindset that is destructive using just one little word. But before I tell you what it is, I want to give a little background on why it works.

Psychophysical unity and performance mindset

Because we are a psychophysical unity, we enact the ideas that we have about ourselves and our abilities physically. And sometimes we may have no real notion of how far the implications of our belief mind extend, until we examine the end result of one of our ideas. FM Alexander gives the example of a student who had made the decision to avoid disagreeable sensations from activities by engaging her mind with pleasant thoughts. Put simply, she avoided putting her whole mind towards anything difficult or taxing, and instead did something akin to daydreaming to avoid any sensation of discomfort. The same student then wondered why it was that she had starting to find it difficult to keep her mind engaged while reading.

I showed her how she had been cultivating a most harmful mental condition, which made concentration on those duties of life which pleased her appear as a necessity. She had been constructing a secret chamber in her mind, as harmful to her general well-being as an undiagnosed tumour might have been to her physical welfare. [1]

Words matter

So the ideas that we have about what we do can have far-reaching consequences. And so often, our ideas can be negative; psychotherapist Philippa Perry in her book How to Stay Sane describes our internal dialogue as being to some degree “toxic chatter” that is loaded with 

hateful thoughts about ourselves and others; unconstructive self-scoldings; pointless pessimism. [2] 

Most of the time we don’t notice the toxic thoughts, and they don’t have a massive impact upon what we are doing. But in a high-stakes situation or a high-stress environment – like a performance – our unhelpful thoughts are likely to have a disproportionate negative impact upon our psychophysical systems.

I see this every time an actor apologises before they run through an audition monologue in class, or a student says ‘I hope I get this right’ before they attempt getting out of a chair. They are getting their apologies in early before a poor performance. And why do they need to do this? Because they assume that a poor performance is likely to occur. They have envisioned it! That is to say, they have constructed for themselves a performance mindset that is highly likely to result in poor performance.

One word that changes everything

The word that changes everything is one I learned in my university theatre training: the word if. Theatre director and acting system creator Constantin Stanislavski used the word ‘if’ as a foundational part of his acting system because it lifted his actors out of actuality and “I to the realm of imagination”:

With this special quality of if … nobody obliged you to believe or not believe anything. Everything is clear, honest and above-board. You are given a question, and you are expected to answer it sincerely and definitely. [3]

Recently I was working with a violinist, who was struggling in the preparations for an upcoming performance. When the person played for me, their intonation was off, their vibrato uncertain. I asked the violinist what they thought of themselves as a musician. “Well, I don’t think I’m any good,” the violinist replied. 

This made me feel very sad. I decided to call on my theatre training and invoke the power of if. I told the violinist I wasn’t going to try to change their belief, but just to ask them to play a little game with me. They agreed, so I continued. “What would it be like,” I asked, “if you really were a good player?”

The violinist’s eyes sparkled, and they played again. It sounded completely different: good intonation, clear tone, strong and appropriate vibrato. It was the clearest example I have ever seen of how just one little word can completely change a person’s mindset, by allowing them to play with thinking differently.

Over to you

Is there something that you believe that isn’t helping you? Do you have a performance mindset that you know holds you back when you go to play or present? Don’t bother trying to believe something different – that sounds like a lot of work and too much stress when you’re close to performance time. Instead, why not harness the power of your imagination? What would it be like if you were confident/capable/great at presenting/totally in control of your material? Imagine what that would be like, and then go out and play. If nothing else, you’ll have given yourself a moment of relaxation instead of stress just before your gig. But you may well surprise yourself with the power of that one little word.

Give it a try.

[1] Alexander, F.M., Man’s Supreme Inheritance, New York, Irdeat, 1997, p.67.

[2] Perry, P., How to Stay Sane, London, Macmillan, 2012, p.26.

[3] Stanislavski, C., An Actor Prepares, trans. E.R. Hapgood, London, Methoden, 1988, pp. 46-47. Author’s italics.

What I learned about auditions and competitions by not making the cut!

Preparation for auditions and competitions is all-importantLast week my colleague and I travelled to Amsterdam to compete in an international recorder competition. We worked really hard, but I’m sad to say we didn’t get past the first round. All is not lost, though, because the experience helped me understand the pressures that students of mine feel when they have to do competitions and auditions.[1] Here’s what I learned from the experience, with some pointers about how to do it with less stress.

What did I learn?

Not making the cut sucks. It just does. If it happens to you, make sure that you plan something nice for yourself after the bad news. Take care of yourself.

But apart from that…

I was reminded of just how many variables in the auditions or competition process that you can’t control.

  • You don’t know who else is going to show up
  • You don’t know what the judges are looking for
  • You are walking into an unfamiliar room with a new acoustic
  • You don’t know what time of day you’ll be performing.

What this means is that when you walk into the competition round, or the audition room, you have no idea what you’ll face. You can make guesses about what the panel will be looking for, but you’ll never really know. So it’s a cognitive distortion to pin your sense of self-worth on the outcome, or your belief in your future employability or career success. Ultimately, the outcome isn’t really in your control! The panel are in charge of who gets through to the second round, not you. So if they don’t include you, you have to remember that there were many variables that were outside of your control.

But there are things that you CAN control

Writing in 1923, FM Alexander approached the topic of nerves and performance, and stated something that I don’t think people take seriously enough:

…we must remember that it is only the small minority of experts in any line who really know how they get their results and effects… Therefore directly anything puts them “off their game,” they experience considerable difficulty, at any rate, in getting on to it again.[2]

In other words, because most performers (and FM was using golfers as his example) don’t really know how they are doing what they are doing, they are more likely to be put off by the weird acoustic in the hall, or by the other candidate ostentatiously doing stretches in the warm-up room.

Ideally, we don’t want to be put “off our game.” We can take steps to make this less likely:

  • Rehearse in different spaces and acoustics
  • Play at different times of day
  • Create mock performances for friends, family and any other crowd you can gather together.

Don’t be put “off your game”

But if we’re doing auditions or a competition, we also want to make sure that, if we are put “off our game,” that we can get back to it again. And FM Alexander tells us how:

It is only by having a clear conception of what is required for the successful performance of a certain stroke or other act, combined with a knowledge of the psycho-physical means whereby those requirements can be met, that there is any reasonable possibility of their attaining sureness and confidence during performance.[3]

Alexander’s recipe for success is to control your own performance. You can make sure that you are as well-prepared as it is possible to be under your particular given circumstances. That means:

  • Setting goals; knowing what is required for a successful performance
  • Working out a means of meeting those goals
  • Doing the practise necessary to make sure that you can carry out those means effectively. If that means spending many hours practising one trill, then that’s what you have to do!

The advantage of doing this work is that, once you’ve done the auditions or competition, you have criteria for assessing your own performance. Did you achieve the goals you set? Did you carry out the process you designed? If you’re lucky my colleague and I were, you’ll be given a video of your performance so that you can watch it back and learn what you can do better next time.

By doing the prep work, you can control your reaction to the process. Yes, it’s stressful – I’m not denying that. But you’ll have taken the steps to reduce the stress as much as you can, and you’ll have given yourself the best chance to shine. And in the end, that’s the most important thing.

 

[1] Full disclosure: I know that my students have a tougher time than me, because I’m not hoping for a professional full-time musical career. My students have more invested in the experience than I did. But I still wanted to do well!

[2] FM Alexander, Constructive Conscious Control of the Individual, Irdeat ed., p.340-341.

[3] ibid., p.341.

Why a pre-performance performance is a great idea

A pre-performance performance can stop little things getting in your wayEarlier this year my son played in the classical guitar classes at our local Festival. (By the way, entering Festivals is a great idea for learners, no matter what level you’ve reached – you get performance practice, you can trial new pieces, and you even get feedback from a professional. Bonus!) He was fine walking out to the stage area and setting up his music, footstool and guitar. He played beautifully. But then…

It took him ages to get offstage again. He had an expensive guitar, a footstool (awkward to hold), and a music book. Three things, but only two hands. It took him a while to work out how to hold them all in order to walk off!

It reminded me once again of the importance of doing run-throughs in performance conditions: you learn what little things you haven’t accounted for. A few years ago, I learned the hard way that one needs to practice drinking water from a bottle while running, if one is to avoid drenching oneself during the race! My son now understands the importance of doing a pre-performance performance, so that he can rehearse those little things like picking up a footstool.

Why a pre-performance performance is good

There are huge benefits to organising for yourself a pre-performance performance. You can:

  • pick up the little things that might trip you up (like a footstool)
  • test out playing under performance conditions. Having an audience, however small, forces you to play through any mistakes you make.
  • help yourself smooth over nerves for the actual day. You’ll prove to yourself that you can do the task of performing, and as FM knew, success builds confidence.
  • learn where you need to do more work. You’ll find the places where you need to think again, both musically and logistically.

Organising a pre-performance performance gives you a chance to use one of the key tools FM Alexander used to solve his vocal problems: you have the chance to analyse the conditions present. This was the first step in FM’s short protocol for working out how to best organise himself in any given activity. He would analyse the conditions present, then use that information to reason out the best means to achieve his goal, and then work on doing just those things.[1]

Giving a pre-performance performance helps you to analyse the specific set of conditions present in the actual performance, so that you have a better idea of how to approach it. You’ll be able to reason out a plan so as to give yourself the best chance of success. And that can only be good.

FM Alexander, The Use of the Self, London, Orion Books, p.39.

Evaluation vs the power of NOW: What I learned from the 21 minute plank.

ID-100253328

Do you find yourself, as you are competing or performing, veering off into a fruitless evaluation of how you are doing? Do you find yourself obsessing about that difficult semi-quaver passage coming up, or worrying about your aching knee or your breathing?

Sometimes the temptation to indulge in an evaluation of how you are doing mid-performance can be almost overwhelming. Believe me, I know this. But I also know that it is utterly useless, and can’t get you to where you want to be. And the other day I had a very tangible physical demonstration of that principle.

For a little while now I’ve been on the email list of personal success coach Ramit Sethi, and when he offered a free course on increasing your potential that he had titled Hell Week, the challenge it threw down was impossible for me to resist. And what was the first challenge in Hell Week? To push past your ideas on your physical limitations by either doing 1000 push-ups or by doing a 21 minute plank. I chose the latter option, thinking (possibly naively) that it sounded like the easier of the two.

Well.

It wasn’t easy. I discovered that planking for long periods uses many more muscles than I initially realised. More importantly, however, I discovered that it wasn’t just a physical challenge. It was just as much a mental challenge, if not more.

When you’re in the middle of the activity, your brain doesn’t stop. Sounds obvious, but think about the implications of that. What are you going to think about as you’re doing the exercise? What are you going to think about as you do the run, or the performance?

What I discovered was this: evaluation mid-exercise doesn’t work. If you congratulate yourself about how well you’re doing, suddenly the exercise gets harder. If you think about the pain, it gets harder. If you think about how much time there is left, it gets harder.

This is the physical equivalent of what musicians have known time immemorial. If you congratulate yourself about the phrase you just played well, you are more likely to make a mistake. If you berate yourself for a mistake just made, you are more likely to go even further wrong. If you worry about what is coming up, you are also likely to go wrong.

The reason is simple. If you are indulging in evaluation, whether good or bad, or if you are anticipating what is to come, you aren’t in the present moment. Your body is in the present, but your mind and your focus are stuck in either the past or the future. And if your focus is not on the present, you can’t influence it.

This is what I learned from doing the 21 minute plank: keeping one’s mind in the present moment is the surest way to success. If you just think of the now, the present moment, it isn’t as hard. The pain isn’t the enemy. The semi-quaver passages and the composer are not the enemy.

You are – potentially – your enemy. You are also potentially your greatest asset.

Where are you going to place your attention? Well, obviously choosing the present moment is a great idea, but how do you achieve that? Many people would want you to focus on the goal. I’m not going to suggest that, because it may do more harm than good. Instead, I’m going to direct you to the work of FM Alexander.

FM Alexander’s suggestion would be to concentrate your thoughts on the means you are going to follow to attain your ends instead of thinking about your goal:

“stress must be laid on the point that it is the means and not the end which must be considered. When the end is held in the mind, instinct or long habit will always seek to attain the end by habitual methods.”(MSI 119)

Alexander would want you to have a goal, absolutely, but in his this passage from his first book he draws a very clear distinction between giving the orders (the mental creation) of the act, and the physical performance (the physical creation) of it. The first you can influence, shape and mould. The second is the outcome of that moulding process.

When I was doing the plank, for example, if I thought about the goal of the exercise (21minutes?!) the enormity of it was so crushing that I experienced an immediate stress reaction that impacted directly upon my stamina and ability to do the work. If I just kept thinking about my breathing and my form, I was able to keep going.

Similarly, my musician students often report the experience that, if they think of what is coming up in the music, they feel anxious; or if they have a big performance, they often feel weighed down by the scale of the task. If they just concentrate on the notes and what they want to convey, the nerves and anxiety vanish: they are too busy to be bothered with them!

My experience, and that of my students, is that staying in the NOW is the key. Not evaluating, not thinking about the goal. Staying in the now.

What will that look like for you today?

 

Image by phasinphoto from FreeDigitalPhotos.net

Why practice is important, and how to do it well

Practice is one of those concepts that everyone knows is important, but most of us feel we don’t do well. I’ve written about this issue before. It’s partly that we haven’t been taught how to do it properly. If we’re honest, though, often we also struggle with the discipline of it: it can feel so difficult to commit to devoting time to something that we fear may be a little like drudgery.

So…

Here’s a little slideshow I made that speaks to the issue of practice: it’s a short introduction to why practice is important, and a couple of ideas on how to do it well.

https://www.haikudeck.com/practice-practice-practice-education-presentation-ikaS1iUUIY

Enjoy. 🙂

Can you think yourself out of stage fright?

Stage fright is a funny beast. Because it has such a formidable physical dimension, we often fall into the trap of believing that it is primarily a physical phenomenon. But what if it isn’t? What if stage fright is primarily a thinking-based problem that is alleviated by thinking-based solutions?

Today, I want to explore how our levels of anxiety in different performance arenas are first and foremost dependent upon the decisions we make about how comfortable we are with that arena.

Malcolm Gladwell told a story in a recent New York Public Library interview about emotions, and about seeing his father in tears reading Dickens. He followed this with the tale of being taken to a movie by his father. (You can watch this whole interview via this page from the website Brain Pickings – the section I’m referring to starts at 13:35) They rarely went to movies. This one was a particularly sad picture about the Holocaust and the life of Corrie ten Boom. Everyone was crying, except Gladwell’s father. When asked why he wasn’t crying, Gladwell snr said, “It’s just fiction!”

dickens

Clearly he didn’t think that Dickens was biography, so why the thoroughly un-teary response to the biopic of ten Boom? Because he had decided to value it differently. There was something about the written word, and the written words of Dickens in particular, that held a higher value for Gladwell snr. This was a choice that he had made.

Similarly, we can make choices about what things we value and what things we fear. More than one of my students has confirmed my own experience that performing as an actor was far less terrifying than performing as a musician. As an actor, they say (as I once did), the audience see the character. They don’t see YOU, so stage fright isn’t an issue. But this is just another decision.

One of my students is an actor who specialises in improvisation. He loves it because there is a clear framework and a set of rules that lead to a successful performance. He dislikes scripted theatre because it lacks these. One of my other students loves scripted theatre because it has a clear framework and a set of rules, and dislikes improvisation because it lacks these.

Partially, of course, these people like the thing they’re most accustomed to. But more than that, they like the thing that they have decided to like and invest time in. If you decide it, improvisation can be safe. If you decide it, musical performance can be safe. If you decide it, I imagine even stand-up comedy can feel safe. The point is, it’s all a decision.

Once I decided that the audience didn’t really see me even when I was playing music, stage fright vanished. I was completely happy about going onstage. I realised that the audience didn’t care about me particularly – they wanted to hear the music first and foremost. As long as I gave my attention to the music, the audience would be happy, and so would I. And it worked.

What would happen if you decided that the performance arena you think is unsafe and uncomfortable, is actually far more safe and comfortable than you have given credit for?

Why fear of competition shouldn’t faze performers

Are you afraid of performing? Whether it’s a concert, play, audition or after dinner speech, do you find yourself frozen up by the fear of what is to come?

Many people are afraid of the battle. To them, every performance, audition or job interview is a competition, and one that they are afraid of losing. The audience/panel are the enemy, the competitor that they must fight. And the fear of competition seems almost all consuming. Some of my students have described it this way:

  • Fighting the audience – fight to keep the audience engaged and with you.
  • Fighting the panel – battling to keep them looking at you as a real contender.
  • Fighting the competitor, and fighting oneself –  struggling to retain the self belief to keep competing.

I want to share with you something I’ve been reading that threw a lot of light on the fear of competition issue. I’ve got two main points that I hope will set you thinking anew about it. My fondest wish is that you’ll come the the conclusion that fear of competition is a mental trick that you can escape – if you want to.

 

1. Fear of competition is a state of mind.

I love watching snooker, and especially love watching Ronnie O’Sullivan. I’ve often wondered what goes through a player’s mind, especially at the beginning of a tight match where the scores remain even, and one player does not gain immediate dominance over the other.

Do you think this would be stressful, or do you think it would be fun?

Many people might imagine that a player would find it stressful. But that isn’t what Ronnie O’Sullivan describes in his most recent book, Running.

I went bang! Long red. Eighty. He went bang! Long red. Eighty. I went bang! Long red. One hundred. He went bang! Seventy. And I thought, 2-2, we’re having a row here, this is good! I’m enjoying this.*

What Ronnie is describing is a joy in the heat of battle. If the other player is matching him frame for frame, he relishes it. He describes a joy in being able to hold his own and gradually overcome another player who is also playing at the height of his powers. For Ronnie, when he is at his best, the battle isn’t something to run away from. It is, rather, something to engage in and enjoy.

Fear of competition is a state of mind, a “trifling habit of thought” (FM Alexander’s words there**) that at some point we have taken on. But it is just a state of mind, and states of mind can be changed.

2. It isn’t really a battle.

The second point is that most performances, most presentations, most auditions and job interviews even, are not battles. They are not a competitive sport, and the audience/interview panel are not your competitors. They are not your enemy. You are not fighting them.

The audience, at heart, wants to be entertained.

The business audience, at heart, wants to get out of the room alive. If they enjoy their time, they are thrilled.

The audition panel just wants to cast the role. They want you to be the one.

The interview panel just wants you to be the right candidate.

They aren’t your competitors. Unless you’re in a particularly extreme set of circumstances, they’re on your side. So what is there to stop you just getting on and enjoying being with them?

 

*Ronnie O’Sullivan (with Simon Hattenstone), Running, Orion, 2013, p.71.
** FM Alexander, Man’s Supreme Inheritance, IRDEAT edition, p.52.

Do they really hate you? Misunderstanding audience reaction.

nervous

When you perform, are you concerned about audience reaction? Perhaps you keep half an eye or ear on the audience as you perform. Do you try to gauge how they’re liking your performance? How would you feel if, heaven forbid, someone should frown or even walk out while you’re performing?

It is a fairly common theme when I work with people with performance anxiety that their tension levels increase through fear of negative audience reaction. Bluntly, they are stressed out by the thought of the audience hating them, or at the very least disliking what they’re doing.

But if they’re frowning, do they really hate you? Or are you perhaps misunderstanding the audience reaction?

This was really brought home to me when one of my students auditioned for the full-time acting course at Royal Welsh College of Music and Drama.* He came out disconsolate, saying that one of the panel had spent the entire audition staring at him, her head resting on her hands. “She looked like she hated me,” he said. “My audition was terrible. I’ll never get the place.”

Luckily, I was also friends with another member of the panel, who told me the story of what happened after my student had left the room. The supposedly grumpy panel member had turned to the other auditioners, fixed them with just as intense a stare as she had the young student, and said, “he’s absolutely marvellous!”

My student looked at the panel member and was convinced she hated him. And it just wasn’t true. So how did my student get it so wrong? How did he so misjudge the audience reaction?

1. You can’t know what’s in their heads.

What a person is thinking is private information. You can’t access it directly. You can make guesses based on available (public) information, like their facial expressions. But your guesses are still just guesses, and while they might often be accurate, under stress your ability to make accurate guesses might be severely compromised. If someone in the front row has a massive frown on their face, you have no evidence that they don’t like you. Maybe they always look like that!

2. The psycho-physical truth

We all think and act (except when forced to do otherwise) in accordance with the peculiarities of our particular psycho-physical make-up.**

This is one of my favourite quotes from FM Alexander, because it so neatly sums up the human condition. We think and act according to our belief structures, whatever those may be. And so if we come across new information or new experiences that require decoding, we will do it according to what we already believe to be the truth about the way the world works.

I ran across a lovely story that speaks to this. The author recounted how the youthful babysitter he had hired looked in wonderment at his (slightly old-fashioned!) corded kitchen phone. “Mr Hunt, what a wonderful idea,” she said, “to tie up your phone so that people won’t walk away with it. Just like the pens at the bank.”***

The babysitter had only experienced cordless phones, and so created an explanation for what she was seeing based on her beliefs and previous experience. We do this all the time. But just like the babysitter, our explanations may be completely off target!

If we’re in a high pressure situation, our systems are pumped with adrenalin. This makes changes to the way we are thinking. And if we’re accustomed to thinking of performing as unpleasant and we’re already looking on the negative side of things, then we will prioritise anything we see that confirms our negative viewpoint, and discount any contradictory (positive) information.

You can’t know how other people are taking things. And it isn’t your business anyway. Your job is to deliver your content in as truthful, sincere and efficient a way as you can. Watching the audience to see how much they like/hate you just distracts from that. Be convinced of the worth of your content and your process, and keep delivering.

 

* This is a brilliant college. I know I’m biased, but if you live in the UK and are thinking of studying in the fields of music or acting, you simply must investigate Royal Welsh.
** FM Alexander, Constructive Conscious Control of the Individual in the IRDEAT complete edition, p.304.
*** Andy Hunt, Pragmatic Thinking and Learning, Pragmatic Bookshelf 2008, p.130.
Image by Freddie Pena, Flickr Creative Commons