Rus Articles Journal

How to cope with fear of a part? Whether

It happened to you to feel disappointment from own performance after repeated successful rehearsals where everything turned out perfectly whereas on a scene something prevented you to be realized? The shivering knees, dryness in a mouth Familiar signs? And how offensively then to realize that it was possible to act much better!

Many physicians claim that all our diseases - from nerves. And on a scene all problems, generally too from them, kind. It is very difficult to cope with own nerves, but I suggest to try nevertheless.

Most of people, stepping on the stage, give not all the 100% from quality of dance (it is if at all acceptable to speak about percent in such area). But there is also a minority - the people experiencing special inflow of forces and energy on a scene, together with feeling of internal freedom, giving quite often better performance, than even the best " version; dance on rehearsal. I do not promise that it is possible to get to this minority, but nevertheless we will try to minimize psychological problems of the future performance.

Call support group . It. Ask them to meet by an applause your exit. Remember that all people easily get to the power of various prejudices. Present that you sit in the auditorium and suddenly declare group, and the hall blows up an applause. Further declare other number, and several cottons are distributed. You involuntarily will have an impression that the first number is better. He as if will receive odds in your perception. Though it is frequent, the number of the people applauding before number depends on the number and activity of the acting people who came from the outside. Especially often it is visible at competitions.

I do not approve superstition, but in such affairs as preparation for performances, all means of maintenance of tranquility and self-confidence are good. Even mascots and superstitious rituals . Do not hesitate to do all these ridiculous things as you will be able to reach a certain degree of tranquility this way.

Everything the speaker I persistently recommend to not to watch numbers before a part . Certainly, it does not belong to all concert, and it is rather to 1 - 2 numbers just before an exit. Especially it is actual at competitions. Even if number before you does not differ cardinally towards great dancing skills, you can lose self-confidence. It is better to warm up behind the scenes. Especially as there is nothing worse, than to leave dry (not warmed up) on a scene. You will not be able to give that you can not to the psychological reasons.

If in numbers before you music is used, then try to dance behind the scenes. If you do not look at a scene, then dance in own way, despite possible difference of music from characteristic of your direction that. Also do not hesitate of the people who are present behind the scenes. You do not watch that they do not do the same, as you, and stand and observe all program from - for the scenes up to the exit. To them it is worse. During such dance do not remember a sheaf, try not to think of anything, to breathe quietly and to indulge to music completely, without the rest. Several extensions are useful to make plus. Then the part will remind you at least partially a situation of repetition of dance on occupation or rehearsal in a dance hall.

The large role in relaxation is played by breathing exercises . If you own any breathing exercises, apply them to a part. Normalization of breath not only helps to calm down, but also increases your endurance. It is not really pleasant to dance with feeling of the dried-up throat. It is better to calm down and gather more oxygen in fabric before performance by means of respiratory the practician. If you do not know such exercises then make 4 series on 4 very deep breath and an exhalation.

Ask a question, than live execution of dance differs from viewing of the television program about the same dance. Live contact of the audience with dancers is distinguished from many differences. Whether it was interesting to you to look at performance of the people looking as if in ? Put yourself to the place of the viewer. Believe me, the viewer will forgive you falling of or a subject on a floor rather, than inexpressive, faded and uncertain dance.

If it is terrible to you to face strangers, put the person in advance close to you on the suitable place and you look then in his face, representing that you dance for it . From such behavior it is possible to draw many impressions. The most interesting consists that even when you look in someone`s concrete face, at the majority of audience (unless except sitting aside) there will be a feeling that you, perhaps, look at them. And it is too special charm - to choose the stranger who is watching closely more or less your movements, and respectively potentially grateful audience. Especially as the secret of your choice will remain with you.

And, above all, reflect for whom all of you do it ? The correct answer - for. Be adjusted on performance as on a source special, I would even tell, unique feelings, as on fascinating travel to novel. You do not want to pass all delights of unfamiliar types from - for a look through a small crack between fingers of hands in which you in fear hid the face. Especially as really nothing threatens you. Try to look at it philosophically. What impressions you receive from own performance, depends, first of all, on your position: what you expect. And what you expect, will be as often we attract events for which and we train ourselves in the life.

And good luck!