Managing Performance Anxiety

Unfortunately, musicians do not always enthusiastically welcome all opportunities to perform for an audience of people. Instead of sensing excitement to share their music with an audience, musicians sometimes feel apprehensive and anxious. This anxiety, commonly called “stage fright,” can be a serious and debilitating problem. Unfortunately, the problem can start in youth and continue into the performance lives of adult musicians. The fact that even successful musicians struggle with performance anxiety shows that it is fundamentally unwarranted; it does not stem from being untalented or ill-equipped to perform. From a psychological perspective, a proper treatment strategy cannot be prescribed without first diagnosing the source of anxiety. This chapter looks beyond the physiological symptoms to define performance anxiety by its causes and the conditions that produce it. The three broad sources of performance anxiety, the person, the situation, and the task, are explained in detail, with treatment suggestions made for each.

Civic stage fright: Motivation and news satire engagement

This article explores news satire engagement and civic motivation, an area of concern in satire scholarship. Focused on what audiences ‘do’ with media, the ways in which young adults who regularly engage in news satire construct political efficacy is studied. Using a qualitative contextualising audience study, including in-depth interviews and focus groups with 31 young adults, a thematic analysis of transcript data identifies three discursive themes relating to civic anxieties; development and invitation, performance and knowledge, and conflict and ‘packaged deals’. These emphasise news satire as cultural form as well as shifting civic ideals and development processes: exposing how news satire’s ‘kynicism’ (non-nihilist criticism) connects to civic performance anxiety. The identified anxieties are understood as related to fears of exclusion, embarrassment and misrepresentation. The metaphor of civic stage fright is developed to further understand these, underscoring the role of emotion and social interaction in civic performance.

PERUBAHAN TINGKAH LAKU SISWA MELALUI KOMUNIKASI ANTAR PRIBADI GURU PENDIDIKAN AGAMA ISLAM

This study describes systematically changes in student behavior through interpersonal communication of Islamic Education teachers at Madrasah Ibtidaiyah Assalam Martapura. Focusing on changing behavior and helping teachers to implement good behavior to their students. This behavior change includes: a) Interactive involvement, this behavior change determines the level of one's participation and participation in communication with other people, including: responsiveness, perceptive attitude and attentiveness. b). Interaction management, this change in behavior helps a person be able to take useful actions for someone to achieve communication goals. c) Behavioral flexibility, this change in behavior helps a person to carry out various possible behaviors that can be taken to achieve communication goals. d) Listening, this behavior change helps someone to be able to listen to people who communicate with someone not only content, but also the feelings, concerns, and worries that accompany it. e) Social style, this behavior change helps someone to behave attractively, distinctively, and can be accepted by those who communicate with that person. f) Communication anxiety, this behavior change can overcome fear, confusion, and confusion of thought, body shaking, and stage fright that appears in communicating.

KECEMASAN KOMUNIKASI DALAM PEMBELAJARAN PENDIDIKAN AGAMA ISLAM

This study systematically changes student behavior in the communication anxiety of Islamic Religious Education teachers at Madrasah Ibtidaiyah Assalam Martapura. Focusing on changing behavior and helping teachers to implement good behavior for their students. This behavior change is communication anxiety in students in the learning process which can overcome fear, confusion, and confusion of thought, body shaking, and stage fright that arises in communicating.Keywords: communication anxiety, Islamic Religious Education learning

Pengembangan modul hipno-Neuro Linguistic Programming (NLP) untuk mengatasi stage fright Mahasiswa

<p class="Normal1"><em>Stage fright </em>sebagai sebuah masalah yang sering kali dialami oleh mahasiswa baru dapat menghambat mahasiswa dalam menjalankan tugas lapangan pada proses perkuliahan dan dalam proses menyampaikan materi di dalam kelas. Dalam peneitian ini, metode penelitian yang digunakan adalah metode penelitian R&amp;D, peneliti mengembangkan sebuah panduan terapi yang menggabungkan teknik hipnosis dan <em>Neuro Linguistic Programming</em> (NLP) yang diujicobakan kepada Mahasiswa baru UIN Sunan Kalijaga. Hasil uji coba dari modul panduan tersebut menunjukkan bahwa <em>satge fright</em> dapat diminimalisir dengan <em>hypnosis</em> dan NLP yang dalam penelitian ini berfungsi sebagai media untuk memasukkan nilai baru kepada klien dengan menggunakan pengembangan model Hipno-NLP untuk membuat bentuk <em>anchor</em> baru yang bertujuan mengatasi <em>stage </em>fright.</p><p align="center"><br /><strong><em></em></strong><em></em></p><p><em> <em></em><strong><em></em><em>Abstract</em></strong>: Stage fright as a problem that is oftentimes be experienced by new college students is obstructive in obeying assignment of study, either field assignment or presenting assignment in class. This research used Research and Development method and developed a therapeutic guide which combines hypnosis and Neuro Linguistic Programming (NLP) techniques and were tested on new students of UIN Sunan Kalijaga. The trial results of the guide module indicate that there is a significant effect on the subjects within both of these tools serve as a medium for entering new values to clients by using the development of the Hipno-NLP model to create new anchor that aim to overcome the stage fright</em></p>

Notorious, The Paradine Case, Rope, Under Capricorn, Stage Fright

Still in Ingrid Bergman’s thrall, Hitchcock made one of his most romantic pictures for her, Notorious (1946), in which she and Cary Grant work out many of the contrasts and tensions in their screen personas. Hitchcock was stymied by casting decisions not his own on The Paradine Case (1947), which was the last film he made for producer David O. Selznick, and then he foundered on miscasting again when James Stewart was given the central role of a queer academic in Rope (1948), his first color picture. Hitchcock made Under Capricorn (1949) as a valentine to Ingrid Bergman, allowing her to dominate an eight minute and forty-seven second take where her character confesses to a crime, a rare instance of acting for its own sake in Hitchcock’s work. Though Marlene Dietrich was superficially in the mode of the liberated women that Hitchcock enjoyed like Carole Lombard and Tallulah Bankhead, the Master was mainly bemused by Dietrich’s demands for special lighting in Stage Fright (1950), and so he lets her have her way as he lets Charles Laughton dominate Jamaica Inn.