Author: ThatPerfectReed
Date: 2014-03-31 21:17
I use a combination of mental tools to address performance stress.
The first is to tell myself that I have a meaningful job to do and that I need to overcome my fear to effect that meaningful cause. Though by no means do I compare my play with the importance of the American Civil rights movement, I do channel what people like Rosa Parks http://en.wikipedia.org/wiki/Rosa_Parks may have felt as morale resolve got them to overcome their fears. To point: there’s a reason morale is important in the armed forces. People who believe in what they are doing are far more likely to take risks to serve that cause.
My next tool is to remind me that I play this “stick with a reed” because I love to (i.e. it’s fun). I remind myself to enjoy playing, in all venues. I’m reminded of the pit of a recent Broadway show, where few audience members could see or bother to look, of a bunch of musicians all swaying together to one of the show’s livelier tunes. They were having fun. So should you, even if it’s only in your head.
My next tool is to believe, which I do, that by in large, audiences, in fact people, are forgiving and kind as they too, as human beings are imperfect. I’ve been known to give standing ovations to clarinetists performing a piece that others would only clap to. My embarrassed wife might want to say, “sit down, you’re embarrassing me,” but she knows why I stand: I’ve played that piece, I know how hard it is to get right.
My next tool is to realize that I am not growing as a player unless I push myself. That smart musician strives for perfection with no less resolve than their knowing they won’t achieve it.
My next tool is to recognize that stuff happens and you just have to deal. A trillion years ago in High School I was performing Weber's 1st (for Clarinet) and the stage fans (read blowers, not my "adoring fans" which is a group of two I call mom and dad) knocked the music off the stand mid play.
How hard was it to play from memory? Not that hard. I had certainly worked on it enough hours, because it wasn't trivial for me, that I could play from memory. Sure enough a colleague put the music back on the stand, and at a break in the piece I rearranged the pages and continued on. I think I received an even warmer reception because those events actually happened. My point, audiences can be very sympathetic and empathetic.
My final tool is one that says, “screw em if they don’t like it.” I can’t be all things to all people. All I can do is go out and do my best. Some will like me no matter what I do, some will dislike me no matter what I do, and I can’t change that.
I hope some of this helps in addition to some of the wonderful stuff I’ve seen written above.
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