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I recently read an article about stage fright by Tadeusz Wroński, a Polish professor of violin pedagogy. The article is not specific to the violin and is applicable to the piano as well. It is long and thorough, but most of the recommendations it provides are known from elsewhere and have been discussed also here (the two most important ones are mental play to avoid memory flubs and performing frequently in front of public, even informally).
However, the article discusses two sources of stage fright, with recommendations how to overcome them, which are new to me and perhaps may be also new to some of you.
1. Stage fright as a subconscious defensive mechanism
In some subjects, stage fright may be cultivated subconsciously, because it is beneficial from the ego point of view, as a comfortable excuse for one’s own negligence. For example, if we fail to diligently do the mental play and have a blackout during the performance, it is much easier to blame an external uncontrollable force (viz. stage fright) than our own laziness or ignorance.
Since this phenomenon is subconscious, we cannot verify its existence (and contribution to the overall stage fright) through introspection. So, to be on the safe side, the author recommends that everyone who suffers from stage fright should take the countermeasure, which is to deprive this phenomenon of the sole purpose of its existence through... denying its existence.
So never think about stage fright, never admit its existence (to yourself or to anybody else), and never talk with anybody about your (and their) extra-musical sensations during the performance. If somebody asks you whether you have stage fright (or had it during the performance), say that you don't have stage fright and only are moderately excited during the performance, which is normal. Do it even if you actually had stage fright! This way, you eliminate any subconscious benefits from the stage fright and that particular source will cease to exist.
2. Too good memory as a source of stage fright
We all know that performing a learned piece is an associative process in which the stimuli occurring during the learning are recalled and associated to re-create the performance. This includes also stimuli external to the execution proper. Many of such stimuli are beneficial and purposefully cultivated, for example understanding the composition structure, understanding the harmony, remembering aurally the melody, or remembering the finger positions and movements against the keyboard pattern (so-called keyboard memory).
However, many of such external stimuli are incidental and occur only during the practice, but not during the performance, yet they are still learned and incorporated into our learned piece. For example, if we practice Für Elise always (or often) wearing our dressing gown, we learn to “play Für Elise in a dressing gown†and an attempt to perform the piece publicly in another attire has about the same impact as a change of the articulation or fingering in the last minute before our performance. Similarly if we always (or often) practice at a certain time of day (e.g. only early in the morning), or while sipping coffee, or looking through the window, or having the sheet music and piano keyboard lit with our favorite lamp with a green shade, etc. etc.
The absence of any of those incidental stimuli interferes with the association process and makes it more difficult to perform. To eliminate this source of stage fright, the author recommends avoiding any side habits and changing the practice environment as much and as frequently as possible, by modifying the times, illumination, clothing, curtains, etc. and ideally also the venue and instrument.
J.A.S
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Interesting post.
I have two different digital pianos at home in different settings, one with window so good lighting, pleasant view, good chair/bench, the other in a cramped dark spare room. I find occasionally playing on the other one does help with practice and learning.
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Not that I'm an expert (or even very knowledgable) but point 1 strikes me as very suspicious and is, I believe, very bad advice.
Everything we are told about our fears is to confront them. Never hide from them.
I suspect that number 2 has some element of truth to it, though I suspect it isn't a memory thing, more a comfort thing.
Now, I would like to learn how to better control my stage fright. As a boy I never had it. If I'm in group situations (choir for instance) I don't have it. When I had my last recital I was shaking like a leaf.
- Debussy - Le Petit Nègre, L. 114
- Haydn - Sonata in Gm, Hob. XVI/44
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My method is to mentally shut out the audience and concentrate on my performance.
Concentration is the key.
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I can't see how the first recommendation would help. He suggests lying to your self in order to fool your subconscious. That would not work with me - I would always know it was a lie and that I was avoiding the problem.
Recommendation two just seems like the usual excuse: "I could play this at home", or "I can't play this without my lucky shirt on". I have my own little excuses, especially about the lighting in my teacher's home (not bright enough), but I would think if you are prone to making excuses then there will always be excuses - eliminate one and you will find another to take it's place.
Sam
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Stage freight is always an interesting and important subject…
I’ve had the opportunity to play in front of an audience of about 2500 to 3000 people, including all my coworkers and colleagues (on more than one occasion). Each time I was gripped by an almost mortal fear/stage fright. It affected my performance because it affected my memory and my nerves, which is what we rely on when we perform (most of the time).
Also, the fact that most of us do not perform in front of that kind of an audience very often makes it hard to get accustomed to and used to.
However, I would imagine that the more often we perform publically and in front of larger audiences, the less we may be affected by stage fright and the fear and nervousness it causes.
When I’m by myself and no one is listening, I can perform much better than when someone is listening.
The more we perform in front of an audience the more comfortable we feel and the better we get at it.
Rick
Piano enthusiast and amateur musician: "Treat others the way you would like to be treated". Yamaha C7. YouTube Channel
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I don't like the first point. What helped me get rid of most of my stage fright was recognizing I had it and then simply trying to clear my mind right before I start playing on stage. I sit at the piano and take a moment before I begin. People don't mind a few seconds of silence and nobody expects you to be like a machine that has to perform the very second it gets to the piano. It took me a lot of public performances to start feeling comfortable on stage. Now I can't get enough of it, there is nothing more I enjoy than playing for people.
Last edited by Teodor; 07/14/11 02:25 PM.
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For the author's point #1 to make sense, he has to reduce his whole treatise to three words: "Pffft. Doesn't exist.". That would save paper. 
(I'm a piano teacher.)
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For the author's point #1 to make sense, he has to reduce his whole treatise to three words: "Pffft. Doesn't exist.". That would save paper. 
"You are the music while the music lasts" - T.S. Eliot
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I don't know that denial is very effective for stage fright, but re-framing the roles of performer and audience in your own mind can be helpful. If you think of the audience as friendly to you, hoping for your performance to be a success, hungry to hear the music and to be moved by it... and in fact, to think of yourself as part of this audience, it is easier to take the focus off of yourself. And it is easier to face a friend than a critical monster. Keeping your mind on the music itself, and on the composer's intention and inner feeling can help to keep yourself out of your own way.
There's a saying about the difference in a performer and a music student: A student practices until he can get it right; a performer practices until he can't get it wrong.
If you do your best, the audience will respect that whether they like the composition or not.
Last edited by Jeff Clef; 07/14/11 04:01 PM.
Clef
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A student practices until he can get it right; a performer practices until he can't get it wrong. I'd never heard that one before. Thanks, Jeff. It's a keeper.
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I don't like the first point. What helped me get rid of most of my stage fright was recognizing I had it and then simply trying to clear my mind right before I start playing on stage. Interesting alternate view. It reminds me of the two major approaches to preparing for natural childbirth: Lamaze and Bradley. To paraphrase greatly, Lamaze says to try to ignore the pain: think of something else, distract yourself, visualize being in a beautiful, peaceful place, and then try to relax. Bradley, on the other hand, says to acknowledge that it hurts, and understand why -- because your muscles are working really, really hard. With that knowledge, relax, but focus on the muscles doing their work. I found the second method much easier. I wonder if there is any parallel with the stage fright issue -- should you pretend it doesn't exist, or face the fact that it does, know why it does, and try to channel whatever is happening into a better performance?
Mary Bee Current mantra: Play outside the box.![[Linked Image]](https://www.pianoworld.com/moyd14/MOYD_01234.gif) ![[Linked Image]](https://pianoworld.com/ABF_Medals/medal_c_2.jpg) ![[Linked Image]](https://pianoworld.com/ABF_Medals/20xmedals.jpg) XVI-XXXVI
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I kind of worked on #2 before my last recital - sitting on bench and chair of different heights, sitting further to the right or left, sitting really far apart from the keys, kneeling in front of the piano (ok, no pedaling here), standing, wearing weights on my wrists, pedaling with high heels as well as with hiking boots, dim light, bright light, eyes closed, hands crossed, wearing gloves - basically everything I could think of to make my playing feel strange and unfamiliar and get out of my comfort zone.
It helped a lot because I noticed I could play my piece decently no matter what, so I was more confident I could play it during recital under unfamiliar circumstances.
As to #1 I share the doubts already mentioned. It might be more beneficial just to notice your stage fright, don't attach too much importance to it/accept it as part of the event and then go on playing.
"The creative process is nothing but a series of crises." (Isaac B. Singer) ![[Linked Image]](https://www.pianoworld.com/ABF_Medals/7medals.jpg)
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Point N.1 seems wrong to me too.
There is a reason we feel fear - it is to protect ourselves.
So, when we acknowledge that there is fear, we have to understand what we think we're protecting ourselves from.
In the case of a performance for most of us, I think it is "making a fool of myself" plus "I'm afraid of what they'll think" and "I'm afraid I'll make a mistake" (talk about self-fulfilling prophecies!
I think you can't just pretend all that doesn't exist.
Jeff raised some great points- the audiences that we (as real ABFers) are performing for, are largely friends, family, and fellow musicians, who are all very in-tune with what we are trying to do and how hard we work at it. (pun fully intended). They WANT us to succeed. I think that is generally true for all performances- I mean, who goes to a concert at an opera house and hopes the pianist/ballerina/actor will make a hash of things?
It seems to me that you have to acknowledge the fear, or even the possibility of fear, and learn to manage it.
The biggest issue for many of us is lack of opportunity to play for others.
Playing the piano in public is similar in many respects to public speaking.
If you can play the piano, you can play it for an audience - but the preparation takes a bit more work.
![[Linked Image]](https://forum.pianoworld.com//gallery/42/medium/12291.png) 18 ABF Recitals, Order of the Red Dot European Piano Parties - Brussels, Lisbon, Lucern, Milan, Malaga, St. Goar Themed recitals: Grieg and Great American Songbook
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-- Post deleted -- sorry, I had it wrong.
Last edited by Legal Beagle; 07/14/11 05:06 PM. Reason: Oops.
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I agree with all who have criticized point one and will add that I have a lot of direct experience with this (singing, not playing piano, but the principle is the same). For me, the very worst thing I can do is try to pretend anxiety doesn't exist. It will inevitably strike when I least expect it, but if I notice and acknowledge it I can manage it better. Best of all is if one can embrace it and allow it to become a source of a little extra energy (easier said than done, but great when it works).
Also the reasoning in point one makes no sense to me. The anxiety problem is at least as personal and embarrassing as laziness or ignorance, and I would much rather admit to one of these because they're so much easier to fix--you could just work harder or learn more!
Besides, I guess if people follow the advice of point one, we can't trust any of the people who say they don't have this problem!
And maybe OT but having done Lamaze childbirth training I did not find there was any attempt to ignore or deny what one was feeling, but rather to relax into accepting it (more like what MaryBee describes as Bradley). Maybe different practitioners interpret it differently.
1989 Baldwin R
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The wikipedia entry for stage fright is actually pretty good: be prepared, breath deeply, exercise. Sam
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I recently read an article about stage fright by Tadeusz Wroński, a Polish professor of violin pedagogy. The article is not specific to the violin and is applicable to the piano as well. It is long and thorough, but most of the recommendations it provides are known from elsewhere and have been discussed also here (the two most important ones are mental play to avoid memory flubs and performing frequently in front of public, even informally).
However, the article discusses two sources of stage fright, with recommendations how to overcome them, which are new to me and perhaps may be also new to some of you.
1. Stage fright as a subconscious defensive mechanism
In some subjects, stage fright may be cultivated subconsciously, because it is beneficial from the ego point of view, as a comfortable excuse for one’s own negligence. For example, if we fail to diligently do the mental play and have a blackout during the performance, it is much easier to blame an external uncontrollable force (viz. stage fright) than our own laziness or ignorance.
Since this phenomenon is subconscious, we cannot verify its existence (and contribution to the overall stage fright) through introspection. So, to be on the safe side, the author recommends that everyone who suffers from stage fright should take the countermeasure, which is to deprive this phenomenon of the sole purpose of its existence through... denying its existence.
So never think about stage fright, never admit its existence (to yourself or to anybody else), and never talk with anybody about your (and their) extra-musical sensations during the performance. If somebody asks you whether you have stage fright (or had it during the performance), say that you don't have stage fright and only are moderately excited during the performance, which is normal. Do it even if you actually had stage fright! This way, you eliminate any subconscious benefits from the stage fright and that particular source will cease to exist.
2. Too good memory as a source of stage fright
We all know that performing a learned piece is an associative process in which the stimuli occurring during the learning are recalled and associated to re-create the performance. This includes also stimuli external to the execution proper. Many of such stimuli are beneficial and purposefully cultivated, for example understanding the composition structure, understanding the harmony, remembering aurally the melody, or remembering the finger positions and movements against the keyboard pattern (so-called keyboard memory).
However, many of such external stimuli are incidental and occur only during the practice, but not during the performance, yet they are still learned and incorporated into our learned piece. For example, if we practice Für Elise always (or often) wearing our dressing gown, we learn to “play Für Elise in a dressing gown†and an attempt to perform the piece publicly in another attire has about the same impact as a change of the articulation or fingering in the last minute before our performance. Similarly if we always (or often) practice at a certain time of day (e.g. only early in the morning), or while sipping coffee, or looking through the window, or having the sheet music and piano keyboard lit with our favorite lamp with a green shade, etc. etc.
The absence of any of those incidental stimuli interferes with the association process and makes it more difficult to perform. To eliminate this source of stage fright, the author recommends avoiding any side habits and changing the practice environment as much and as frequently as possible, by modifying the times, illumination, clothing, curtains, etc. and ideally also the venue and instrument.
Sorry to but in but I need to give my two cents worth. Psychoanalytic theories (of the kind in point #1) are no longer considered credible by the scientific community. In fact there is a large body of research showing that they do more harm than good. There is also no evidence (nor can there ever be) for a subconscious of the kind referred to by this article. Things like the "ego" are unfalsifiable and therefore considered bad science. The second point on the other hand is quite sound. But, if you have seriously bad stage fright, altering the stimuli while you practice will give you little if any benefit. Assuming your stage-fright doesn't stem from just a lack of preparation. There are only two things you need to do to help diminish it. 1) Get Exposure: Practice performing your piece in front of people. If you have a big recital coming up, grab one or two people and run through your performance with them. Then on the next day grab some more people (preferably even more than on the previous day) and play for them. Keep doing this until the recital. 2) Learn to trust your muscle/procedural memory: This seems contrary to what you hear most of the time. There are so many great pianists who constantly say don't rely on muscle memory it is unreliable. But the simple fact is that even if you memorise every single note of a piece (to the point where you can see yourself play each note perfectly) this use of declarative memory is slow and inefficient for the purpose of performing. Sports psychologists know this is the case. But how do you learn to trust your procedural memory? You have to develop two new mental habits. The first of which is that you have to practice not being critical of your performance (this includes positive criticism as well as negative criticism). The second of which is that you have practice focusing on something while performing (ideally this should be the music or some aspect of the music, but you can also focus on things like the feeling of the finger pads hitting the keys). This takes practice but can be done.
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I am certainly in favour of removing "stage fright" from the world's list of valid excuses. It's just his self-deception part that I don't like.
(I'm a piano teacher.)
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I understand people's reservations re point 1, but for my own teaching this is exactly my approach with children. It doesn't exist in my studio, not named, not refered to, not dealt with in preparation. In our concerts the young students may sometimes feel a buzz but not enough to not enjoy themselves.
Then at the age of dawning self awareness as a pre-teen the student appears to go through a frisson of self consciousness with adrenaline at a concert. It doesn't seem to diminish their desire to perform in general. As you probably all know, the right amount of adrenaline makes performing more meaningful, exciting and memorable!
BUT, if the dawning self-awareness age coincides with an underprepared or badly prepared performance crash and burn will result. This may be the first time the student Really Listens when you tell them how to prepare well for a performance. Those who started always from the beginning with brain sometimes only half listening learn some very interesting things about types of memory, performance, emotional states, focus and the variation between instruments.
Me - I'm an adult learner, so there are some shaking hands that I don't even know why they are doing that! Stop that! I say.. my hands don't listen.
Information regular filters back to me about how relaxed my students are about performing - they volunteer to perform a lot at school for example, I hear that they appear "carelessly confident" compared to the other young players.
Please understand that my students are not piano geniuses or conservatory track types. They are ordinary players with many things you could criticise, but they are in control of their own giving. I'm not a high-achiever teacher if you know what I mean.
![[Linked Image]](http://www.runemasterstudios.com/graemlins/images/cloud.gif) Composers manufacture a product that is universally deemed superfluous—at least until their music enters public consciousness, at which point people begin to say that they could not live without it. Alex Ross.
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