ACROBAT

Miranda Wilson talks about stage fright and shares two pieces of research on how to deal with performance anxiety.

In my career as a cellist and a professor of cello, I’ve noticed something happening again and again. A performance–my own or someone else’s–is going reasonably well, and then an unexpected mistake changes everything. It might be a wrong note, a badly missed shift, a momentary memory lapse.

In the split second after the mistake, things can go two ways.

1. There’s a possibility that you recover, and the rest of the concert goes without incident.
2. But the greater possibility, especially with inexperienced players, is that you withdraw into yourself. Your stance hunches or stiffens as you berate yourself over and over for your mistake. The concert goes on in the present, but you’re stuck in the past, obsessing about what went wrong.

→In her follow-up book, Presence, Cuddy shows us that when you adopt a powerful stance, such as standing with your feet planted apart and your hands on your hips, actual chemical changes occur in your body that improve your performance.

Before concerts, I stopped practising up until the last second, and instead just stood backstage with my hands on my hips, feeling the natural power of my stance surge through my body. My breathing seemed to deepen. My self-sabotaging tension–always the worst symptom of my anxiety–seemed, if not completely gone, at least lessened.

→At around the same time, I read a peer-reviewed study on the subject of performance anxiety by Alison Wood Brooks of the Harvard Business School. In this game-changing experiment, Brooks asked groups of students to perform a number of tasks that most people find anxiety-provoking: to sing in front of an audience, to compose and deliver a speech, and to take a math test. One group of students were told to try to be calm. Another group had no specific instructions for how to feel. Another were told to reappraise their anxiety as excitement. Woods evaluated her groups in a number of ways, from measuring their heart rates to rating their performances. The result in every case was that the “calm” group didn’t do much differently than the control group. The “excited” group, however, fared significantly better. This information changes everything for us performers.

Every time I had a little slip in that concert, instead of my usual self-berating response, I redirected my focus to “I’m excited. Excited that these people showed up to hear me play music I love.”

Mistakes, after all, are in the past. We can do nothing about them now. There’s no do-over, no rewind button, no time machine. It happened, and the choice is yours: you can sit there in the past with your mistake, or you can reframe your feelings and stay in the present with the music.

Photograph by Phil Knights.

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