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Being an introvert, I don't like to perform, But I can do it – because of my profession, I often have to do it. At first, I had to seriously overcome myself. The unpleasant feeling remains, especially when you have to perform in unfamiliar audiences. I worry, there is always a moment before the start when I want to get away somewhere. There are no special recipes for overcoming it. I just know that this is it, you have to endure it now, and then it will pass by itself. In general, knowing yourself helps a lot: you know how you will feel next, as if you are observing yourself from the outside and predicting ahead, and this, oddly enough, calms you down.
Before the performance, I say to myself: you have to go through this, there is still no way back, just forward and straight ahead. This is the rule of a pianist at a concert: if you get lost, don't repeat it, but continue playing. You experience exactly what is now, and what is next, and not what was before. Otherwise, you won't get any music.
I'm getting ready, of course. For example, I must learn the first phrase by heart (and then it will go on). I try to make it attractive and say it with a smile. If someone in the audience smiles back, it makes me feel better.
But in no case do I memorize the rest. From memorizing just a lot of problems-you forget some comma, and get lost. Then you remember after ten sentences and start mumbling: “Yes, I just forgot to say…” And you get lost completely. It's better to really forget something. No one will notice, I assure you. The piano player's rule in action.
I choose a conversational tone, as if talking in a warm company.
Well, there are many such recipes. I've already gained some experience, and over time, of course, I worry less and less. So, there is almost nothing to be afraid of-it will be easier from now on.
Dale Carnegie's advice: imagine that the audience in the hall is people who each owe you a certain amount of money. This perception helps to reduce the degree of fear.
Let's be honest: you can't beat the fear of performance. No matter what they tell you. This fear, or rather excitement, is the body's natural defense function in anticipation of the unknown. After all, we don't know whether everything will go smoothly, whether we will forget something, and we can't predict the mood of the audience.
However, we can use several methods to reduce our own excitement. Let's look at them.
a) forget something important
b) make a mistake in the process of speaking
c) our listeners
The antidote:
a) write down all the most important things on small cards that you will look at. Theses, reference points, plan points – everything that will help you move freely from one thought to another. It's calmer this way.
b) we are afraid of making mistakes, so we start to over-control ourselves and look squeezed. But what if you don't make excessive demands on yourself? As practice shows, only a very small (on a global scale) number of public speeches really require a perfect narrative. As a rule, these are speeches of presidents in a situation of global crisis. I want to believe that you will not face such a problem in your life.
So-just say to yourself: “I am a normal ordinary person. Everyone makes mistakes. And I might be wrong. And I'll be wrong! Even so, I don't care!” Right now, stand in front of the mirror and say to yourself.
c) many people are afraid of their audience, and they do it in vain: there are the same people, with their own complexes and fears. I can assure you that most of your listeners are happy with the fact that they didn't have to perform. Relax and be friendly, sincere and honest. Prepare a couple of good jokes and the audience will love you.
Your goal is to make sure that your interlocutors understand you correctly. Don't try to please everyone, don't think about how you look. If you spoke well and convincingly, everything will work out by itself. Think about mutual understanding, this is the main thing.
But then you will realize that you are no longer afraid of any performances at all. To the survivor-glory and honor.
PS. Remember the main thing: no stimulants. Do not be tempted by sedative pills or alcohol before an important event: under stress, the body can react as it pleases. Better use your breath to count. We sat down in a comfortable position, inhaled for three counts, counted again to three, and exhaled for four counts. Inhale again, but this time for four counts, delay, exhale for five. And so you add up a second at a time. Calm down for three minutes and get in the right mood.
Good luck! Your L. Smekhov.
Fear and panic arise because of the adrenaline that accumulates in the joints. Proven by experience: a minute or two of tight squats and push-ups before the performance distribute adrenaline throughout the body, as it should. As a result, the fear that binds you disappears.
In addition, you can imagine that everyone who listens to you is naked. And if you are slightly nearsighted, remove your glasses or lenses. Bodies will be visible, but not faces. It helps a lot. Although after “charging” it is usually no longer necessary.
There is one good acting method for performing on stage: before going out, spread your legs wider, strongly strain your whole body, clench your fists until it hurts, and then, bringing the tension to a climax, unclench your fingers and you go out to the audience just on wobbly legs. Slight excitement remains, but the jitters and panic subside
It's simple, try to convince yourself that you are talking to a child. You are such a sophisticated type, an intellectual, and the interlocutor is a sucker. This is how most of the artists and public figures I've seen behave, and upon closer inspection of their lives, it turns out that they don't hold a candle to the most stinking K. T. N. y. In general, pride and conceit will save the father of Russian democracy.
How to become more confident is a completely different question. Here the answer can be quite specific. Do static exercises, they help to overcome fear and fear will be overcome in everything, not just on stage. True, this is not as easy and fast as we would like, but it works with reinforced concrete and works as it should.
If this is not possible, arrange your speech so that it “moves” from one thesis that you are sure is true to another, as if you are climbing up a cliff, and your theses are hooks that you cling to. Visualize this image and it will be much easier to build your speech, even if you are a good speaker.
The fact is that when we speak quickly and without pauses, we lose our breath, we start to “choke” and chatter. The signal about the failure of breathing goes to the brain, which perceives the failure as an alarm signal and begins to panic. Even if you don't get lost during the performance, the lion's share of energy will be spent on keeping calm.
When we shift our body weight to our right leg, we activate the so-called “heart channel” and our speech begins to be perceived by our interlocutors as more sincere and truthful.
Of course, you don't have to jump up, run around the stage and make chaotic movements. Every speech has a rhythm and tempo. If you can feel it and move according to the pace and rhythm of your speech, the other person won't be able to take their eyes off you.
Find two or three cute people in the hall at different ends of the hall and tell your speech, periodically glancing at them. It is a mistake to choose one person and only address them during your entire speech. First, look through the hole, and secondly, your body and eyes will seem frozen.
To make your hands look beautiful and meaningful, practice making movements when you say the iconic phrases of your speech. Use sign language to show what you can easily and clearly show with your hands. For example, the count (one, two, three), the “Ok” sign (thumb and middle fingers joined together), the “stop” sign (palm raised up, as if moving something in space), etc.
On the face, we “live” the so-called social mask-the shackling tension of the face, which can be seen by the clenched jaws, skewed cheekbones, the tension of the brow arches and the crease on the bridge of the nose. The meaning of this mask is protection. Stretching our lips in the “American smile” we further strengthen it, baring our teeth as if to say to the interlocutor “do not approach – I will bite!” The mechanism of forming a social mask is unconditional, we can practically not control it, but we can help ourselves by relaxing our face at least before the performance. It is even better to go for a deep psychosomatic facial massage before the performance.
Do not over-rehearse your speech before the performance, so as not to burn out. It is better to tell the main theses to your loved one the day before. In his / her presence, you will relax and this state will be remembered at the performance.
Stage psychologists work with professional actors. Body psychopractors are included in the acting training. You can also free your body from the inevitable restraints if you see a body-oriented therapist. Now these wonderful specialists are available in almost every city. Don't neglect the opportunity to get professional help and become a stage genius!