stage fright

Birth… ◽  
2021 ◽  
pp. 111-111
Keyword(s):  
1959 ◽  
Vol 8 (1) ◽  
pp. 1-7 ◽  
Author(s):  
Theodore Clevenger ◽  
Gregg Phifer
Keyword(s):  

2021 ◽  
Vol 89 ◽  
pp. 103201
Author(s):  
Francesco Cerchiaro ◽  
Dick Houtman
Keyword(s):  

The Lancet ◽  
1977 ◽  
Vol 310 (8045) ◽  
pp. 952-954 ◽  
Author(s):  
I.M. James ◽  
D.N.W. Griffith ◽  
R.M. Pearson ◽  
Patricia Newbury
Keyword(s):  

2000 ◽  
Vol 15 (2) ◽  
pp. 65-71
Author(s):  
Marcie Zinn ◽  
Claudia McCain ◽  
Mark Zinn

Fourteen music majors were tested using the high-risk model of threat perception (HRMTP), a biopsychosocial model designed to diagnose and guide treatment of stress-related somatic disorders. Regression analysis revealed that negative affect, social desirability, peripheral vasoconstriction, and “catastrophizing” predicted state anxiety scores after jury performance (p ≤ 0.041). A significant difference in hand temperature before and after jury performance was also found (p ≤ 0.01). Social desirability scores were inversely correlated with negative affect and catastrophizing scores (p ≤ 0.01). These results are consistent with predictions from the HRMTP, which predicts that people high in either overt or covert negative affect and catastrophizing are at greater risk for psychophysiological disorders than normals. The model also predicts that people who are high in social desirability (repressors) are likewise at risk because of inhibited pain perception. Since performance anxiety has been discussed by several authors as a psychophysiological event, implicating the role of the autonomic nervous system in the initiation and maintenance of stage fright, this model may provide a new pathway into the understanding of stage fright.


2001 ◽  
Vol 16 (2) ◽  
pp. 72-76
Author(s):  
David Alan Harris

Performing artists face numerous challenges, of which few may be more threatening to a meaningful career than performance anxiety. Stage fright, as this anxiety is commonly known, involves an internal conflict between the need to display one’s artistry publicly and the concurrent fear of proving inadequate and ultimately suffering public rejection. Typically presenting as a fear of humiliation in situations involving scrutiny by others, this phobia is frequently associated with behavioral, cardiovascular, and neuroendocrine activation, and can manifest itself in a variety of physical discomforts. A body of research demonstrates successful alleviation of orchestral musicians’ stage fright through use of such blocking agents. No comparable data have been collected among dance artists of any kind, however, and given certain effects of b-blockade on exercise metabolism, targeted investigations assessing both safety and efficacy in this population are needed.


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