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I recently had someone ask me, "When did you stop being nervous before a performance?" I think I responded, "Stop? Maybe one day ... but I don't think they make calendars that far in advance."
I am always nervous before a performance or a speaking engagement or even before teaching a class. I try to channel that energy, that adrenalin, that heightened awareness, that intense experience of Being Here Now and being fully alive into my performance. It helps me be passionate, more alive and more in the moment.
I've developed some strategies for enhacing my stage presence and dealing with feelings of nervousness as they arise. These things help me and they may help you also.
Be Prepared -- Technically and Physically
1) Know your music! Know it inside and out. Know every lyric. What is the story of your song? Until you know that, you cannot begin to bring that characterization into your dance. And know the melody. Know it so well that you can hum or sing it to yourself, start to finish.
2) If you are hoopdancing to a choreography, know it in your head as well as in your body. Know it so well that you do not even have to think about it. Internalize it in your body so that one move flows after the other with no thought at all. I first learned how to do this with performance poetry. When I began to do performance poetry, Dr. Paul Ferguson taught me to memorize the piece so well that I could recite it out loud like I was speed reading it -- superfast!!! Then, once you have that, slow it down as slow as you can, even slower than you think you'd ever do it. Your performance place will be in the space between. Once you've explored these possibilities, you can adjust the speed, the emphasis and the nuance, however you wish. The same is true for dance. Being able to run through it fast allows you to practice it more times and ensures that you are less likely to forget something. It's like building muscle memory. Then commit it to memory and practice it there. Instead of building muscle memory, think of this as "flexing your memory muscle". This allows you to practice in your head and do creative visualization. Pretty soon you don't even have to think about it. Your dance just flows through you. Visualize yourself performing it start to finish, noting your gestures, your facial expressions, your costume and even your audience's reaction. Once you have created the choreography, put on the music (or hum it to yourself) and run through it in your head again and again, practicing it in your head..
Once the choreography is completely memorized, master the moves. Practice doing it fast and slow, with highly exaggerated movements and hardly any movement at all. Videotape yourself and review it to see what works and remember to emphasize aspects you think work. Once memorized and mastered, you can relax, listen to the music, have a good time with it and tell the story that is your song. Knowing your choreography inside-out allows you to communicate whatever emotion you are trying to create rather than wear an expression of concentration and nervousness. It also reduce your anxiety that you'll forget something.
3) If you are improvising, it is even more important to really know your music! Know your lyrics (look them up online if you need to) and know the melody so well that you can hum or sing it to yourself, start to finish, without hearing the music. Listen to the song over and over so that its cadence and rhythms become second nature. Note the accents and dramatic segments and, if possible, plan how you're going to interpret these segments. Also plan your entrance, bow and exit.
For improvisational performances, dance to the music over and over again, using different moves and steps and expressions so that you'll have several options in your repertoire. This way you won't blank out on stage. Videotape yourself and watch it to see what works and make sure to incorporate those moves or characterizations. Try to balance the number of repetitions so you don't lose track of yourself and find yourself doing the same thing over and over and over. Feel the music and express sincere emotions. Avoid frowning but also avoid a constant smile. which can feel insincere and kinda cheerleaderly. Allow your expression to fit both lyrics and melody. Finally, remember to utilize the four main focal points for your eyes. (Directed gaze may be directed over your open balcony and toward the floor, onto your hoop, at the audience and on the free hand that is moving (if both hands are moving, alternate your directed gaze so that it follows first one, then the other) -- try to avoid utilizing a single directed gaze but instead use a mix of these.)
2) If possible, be familiar with the venue: Check out the type of flooring, the size of the stage, your distance from the audience, the height over head, the intensity of the lighting, etc. The more details you have, the better you can prepare.
3) Rehearse at least once wearing the costume, shoes, hairstyle and accessories you will be wearing for the performance. Check your costume for anything you might trip over or tangle in. Make sure it allows you freedom of movement and that it has no tears or stains. Make sure it's grippy. Ensure that none of your accessories or your hairstyling gets in the way.
4) Warm-up and stretch before your performance. It's hard to do our best if we are cold or stiff. Try to get your blood moving and stretch every part of your body -- calves, hamstrings, fingers, hands, waist, feet and toes, especially.
Prepare Yourself Mentally
1) Utilize creative visualization to envision your entire performance. Practice every aspect of it in your head while taking long, slow, deep breaths so hat when you actually go onto the stage, you are already comfortable breathing long, slow and deep.
2) Know that you will be lovely. Every dancer who does their best is lovely. There may be different skill levels and different styles but each dancer is unique with a special something to give. There is no competition. It's just you sharing what you have, even if there are other people on the stage. The audience will respond to the love and respect you give to yourself and to them. Your audience is a mirror of your emotions. If you feel insecure, they will feel uncomfortable. If you feel sassy and confident, they will feel alive and excited. So cultivate a feeling of calm, assertiveness. Feel your power and let it flow through you. Remember that you are a beautiful miracle and reveal that miracle to both your audience and yourself.
3) Even if you do feel nervous or insecure, soldier on. You gain strength, courage and confidence every time you do something you are afraid to do. The bravest thing you can do when you are not brave is to profess courage and act accordingly.
4) Assure yourself that whatever happens on stage you MEANT to do it. If something happens that cannot be disguised by this strategy, use humor and move on.
5) Don't worry that you are not as good as "so and so" or whoever comes on right before or right after you. I can truly say that I have often enjoyed a simple and joyful dance by someone who is having a good time more than the highly skilled performance of someone who does it without passion or with an "I am the best" attitude.
6) Just before you go on stage, take a deep breath and visualize yourself dancing at your best as well as the smiles and admiration of your audience.
7) After your performance and before you leave the stage, stop and bow. Count to 10 in your head and receive you applause. This is the audience's opportunity to give back. Do not reject their gift by running off the stage.
Also, no matter how badly you might "think" you did, simply say thank you to the compliments you receive and add nothing else. You diminish your efforts and discredit your fans by not accepting their praise or by pointing out that they are not knowledgeable enough to have noticed your mistakes. A compliment is a gift. Accept it graciously.
Finally place your attention on what worked, on what you're proud of. Too often we focus on what we could have done better or differently. Notice these things but don't dwell there. Dwell on what worked. You'll be happier with your performance and more confident next time.
.
Each performance experience is unique and a new step in your hoop journey. Performance is not only sharing your skills but sharing your heart and soul. It is an exchange of emotions between the dancer and the music, the dancer and other dancers, even the dancer and he audience. Just go out there and give it your all, remembering always that the one thing that you have that no one else does ... is You. Let your light shine!
I am always nervous before a performance or a speaking engagement or even before teaching a class. I try to channel that energy, that adrenalin, that heightened awareness, that intense experience of Being Here Now and being fully alive into my performance. It helps me be passionate, more alive and more in the moment.
I've developed some strategies for enhacing my stage presence and dealing with feelings of nervousness as they arise. These things help me and they may help you also.
Be Prepared -- Technically and Physically
1) Know your music! Know it inside and out. Know every lyric. What is the story of your song? Until you know that, you cannot begin to bring that characterization into your dance. And know the melody. Know it so well that you can hum or sing it to yourself, start to finish.
2) If you are hoopdancing to a choreography, know it in your head as well as in your body. Know it so well that you do not even have to think about it. Internalize it in your body so that one move flows after the other with no thought at all. I first learned how to do this with performance poetry. When I began to do performance poetry, Dr. Paul Ferguson taught me to memorize the piece so well that I could recite it out loud like I was speed reading it -- superfast!!! Then, once you have that, slow it down as slow as you can, even slower than you think you'd ever do it. Your performance place will be in the space between. Once you've explored these possibilities, you can adjust the speed, the emphasis and the nuance, however you wish. The same is true for dance. Being able to run through it fast allows you to practice it more times and ensures that you are less likely to forget something. It's like building muscle memory. Then commit it to memory and practice it there. Instead of building muscle memory, think of this as "flexing your memory muscle". This allows you to practice in your head and do creative visualization. Pretty soon you don't even have to think about it. Your dance just flows through you. Visualize yourself performing it start to finish, noting your gestures, your facial expressions, your costume and even your audience's reaction. Once you have created the choreography, put on the music (or hum it to yourself) and run through it in your head again and again, practicing it in your head..
Once the choreography is completely memorized, master the moves. Practice doing it fast and slow, with highly exaggerated movements and hardly any movement at all. Videotape yourself and review it to see what works and remember to emphasize aspects you think work. Once memorized and mastered, you can relax, listen to the music, have a good time with it and tell the story that is your song. Knowing your choreography inside-out allows you to communicate whatever emotion you are trying to create rather than wear an expression of concentration and nervousness. It also reduce your anxiety that you'll forget something.
3) If you are improvising, it is even more important to really know your music! Know your lyrics (look them up online if you need to) and know the melody so well that you can hum or sing it to yourself, start to finish, without hearing the music. Listen to the song over and over so that its cadence and rhythms become second nature. Note the accents and dramatic segments and, if possible, plan how you're going to interpret these segments. Also plan your entrance, bow and exit.
For improvisational performances, dance to the music over and over again, using different moves and steps and expressions so that you'll have several options in your repertoire. This way you won't blank out on stage. Videotape yourself and watch it to see what works and make sure to incorporate those moves or characterizations. Try to balance the number of repetitions so you don't lose track of yourself and find yourself doing the same thing over and over and over. Feel the music and express sincere emotions. Avoid frowning but also avoid a constant smile. which can feel insincere and kinda cheerleaderly. Allow your expression to fit both lyrics and melody. Finally, remember to utilize the four main focal points for your eyes. (Directed gaze may be directed over your open balcony and toward the floor, onto your hoop, at the audience and on the free hand that is moving (if both hands are moving, alternate your directed gaze so that it follows first one, then the other) -- try to avoid utilizing a single directed gaze but instead use a mix of these.)
2) If possible, be familiar with the venue: Check out the type of flooring, the size of the stage, your distance from the audience, the height over head, the intensity of the lighting, etc. The more details you have, the better you can prepare.
3) Rehearse at least once wearing the costume, shoes, hairstyle and accessories you will be wearing for the performance. Check your costume for anything you might trip over or tangle in. Make sure it allows you freedom of movement and that it has no tears or stains. Make sure it's grippy. Ensure that none of your accessories or your hairstyling gets in the way.
4) Warm-up and stretch before your performance. It's hard to do our best if we are cold or stiff. Try to get your blood moving and stretch every part of your body -- calves, hamstrings, fingers, hands, waist, feet and toes, especially.
Prepare Yourself Mentally
1) Utilize creative visualization to envision your entire performance. Practice every aspect of it in your head while taking long, slow, deep breaths so hat when you actually go onto the stage, you are already comfortable breathing long, slow and deep.
2) Know that you will be lovely. Every dancer who does their best is lovely. There may be different skill levels and different styles but each dancer is unique with a special something to give. There is no competition. It's just you sharing what you have, even if there are other people on the stage. The audience will respond to the love and respect you give to yourself and to them. Your audience is a mirror of your emotions. If you feel insecure, they will feel uncomfortable. If you feel sassy and confident, they will feel alive and excited. So cultivate a feeling of calm, assertiveness. Feel your power and let it flow through you. Remember that you are a beautiful miracle and reveal that miracle to both your audience and yourself.
3) Even if you do feel nervous or insecure, soldier on. You gain strength, courage and confidence every time you do something you are afraid to do. The bravest thing you can do when you are not brave is to profess courage and act accordingly.
4) Assure yourself that whatever happens on stage you MEANT to do it. If something happens that cannot be disguised by this strategy, use humor and move on.
5) Don't worry that you are not as good as "so and so" or whoever comes on right before or right after you. I can truly say that I have often enjoyed a simple and joyful dance by someone who is having a good time more than the highly skilled performance of someone who does it without passion or with an "I am the best" attitude.
6) Just before you go on stage, take a deep breath and visualize yourself dancing at your best as well as the smiles and admiration of your audience.
7) After your performance and before you leave the stage, stop and bow. Count to 10 in your head and receive you applause. This is the audience's opportunity to give back. Do not reject their gift by running off the stage.
Also, no matter how badly you might "think" you did, simply say thank you to the compliments you receive and add nothing else. You diminish your efforts and discredit your fans by not accepting their praise or by pointing out that they are not knowledgeable enough to have noticed your mistakes. A compliment is a gift. Accept it graciously.
Finally place your attention on what worked, on what you're proud of. Too often we focus on what we could have done better or differently. Notice these things but don't dwell there. Dwell on what worked. You'll be happier with your performance and more confident next time.
.
Each performance experience is unique and a new step in your hoop journey. Performance is not only sharing your skills but sharing your heart and soul. It is an exchange of emotions between the dancer and the music, the dancer and other dancers, even the dancer and he audience. Just go out there and give it your all, remembering always that the one thing that you have that no one else does ... is You. Let your light shine!
posted by:
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Raleigh
|
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Marks
Mon, June 15, 2009 - 9:52 AMI thought of something else that helps me too. This would fit under Be Prepared - Technically and Physically.
Sometimes you find yourself with a big performance space and you need to utilize the front of the stage to connect the audience. Or someone may be filming your performance using a camera on a tripod and you need to stay with in a prescribed area to be on the film. Or perhaps you tend to stay in one space and you want to make yourself utilized more of the stage. Or perhaps your need to line up with other dancers and it's important that you're evenly spaced. No matter what the reason, using a brightly colored gaffer's tape to create marks on the stage can be helpful. The most important mark is the center mark, the place that will be the center of your performance. In this case, X literally marks the spot. If you have an opportunity to practice on the stage beforehand, mark the space from which you would like to center your performance so that you can quickly see where you need to be. With bright lights and the disorientation of spinning, we can often end up too far to the right or left, forward or back, if we don't have a spot to anchor us or to return to. Second, mark the four corners of your performance area. (Use lines for this, not an X.) This can help you not only with moving around and utilizing the whole stage but with directing your gaze. It can even keep you from falling off the stage in a disoriented moment. (Just ask Ann Margaret who had to have her entire face reconstructed after a similar accident!)
I find that marks just make me feel more comfortable and grounded, like a place to come home to. It also feels a bit like anointing your performance space. You are literally "setting the stage".
You can also use tape to create lines for a line of dancers to make sure you're all straight or evenly spaced. You can use lines for creating a single long line to follow if you want to make a long, spinning, sweep across the stage or toward your audience.
Finally, if you have more than one dancer, I recommend using different colored marks for each dancer. You don't want someone else to go out and stop on your mark just because both of your marks are, say, red. As hoopers, we usually have lots of different colors of tape. Don't be afraid to utilize them.
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Re: Shaking Off Performance Anxiety and Honing Your Performance
Mon, June 15, 2009 - 5:51 PMWONDERFUL WORDS OF ADVICE
