A performing artist learns skills that help her internalize her experiences so that she can complete the duties of her job. Over time this process can cause a chasm of internal thoughts between her true self and the characters she is required to play. The chasm is a fertile area for performance anxiety to grow. Avoiding performance anxiety requires quiet times for visualizing reflection, and planning to produce self-confidence. A performing artist who develops self-confidence with philanthropists, colleagues, and clients will have joyful and fulfilling experiences. Developing her self-confidence helps her overcome setbacks and frustrations when external motivators cannot. Avoiding performance anxiety will help her balance critical thought and naivety.
Visualizing with Philanthropists
Creativity is attractive to audiences. Performing artists spend significant rehearsal time to perfect their ability to regulate the value and effort of movements. Vocalists create control and articulation of range in the same way writers construct voices. Musicians practice subtle dexterity in the same way dancers utilize infinite combinations of movement and actors order a spectrum of responses. The time consumption for producing captivating works is impossible without devoted philanthropists who believe the world needs the joy of the arts. Performing artists must reserve quiet times of visualization to persist as a self-confident asset to the philanthropist and avoid performance anxiety. Visualizing the future aids her in creating a common lexicon with the philanthropist. It also prepares her to talk intelligibly about the precise costs involved in bringing the conceived work to life. She will feel self-confident about theme development and budget when she’s prepared through a time of quiet visualization before meeting with the philanthropist.
The arts are a powerful tool for influencing people. They wield power. According to Connor and Wagner (1998), writers may engage in ideal genre agreements, but they may also decide to modify the genre for their purposes. Artists must take time to consider representing their values through art. Will there be an amount of special identity created on behalf of the funder? An imbalance between the true values of the performing artist and the character created for the special identity of the philanthropist will generate space for performance anxiety to breed.
People are captivated by the creativity and ability of the performing artist. Careful consideration should be taken to consider the purposes for which she wants to wield her accomplished skills. The amount of time it took to create the ability to dance, sing, write, or act is priceless. It is nearly unbearable for her, as an artist, to produce works without enthusiastic philanthropists who desire that the world would experience the arts. When she commits to quiet times of visualization, she will be a self-confident asset to funders and avoid performance anxiety. The funder and artist will understand the sources of compatibility between each other she will speak with assurance about the of production.
Planning with Colleagues
Co-workers have a clear picture of the strengths and weaknesses of their team members. A performing artist is often sub-contracted and paid specifically for the time she is depositing her art form in the contracted entity. She can become void of meaningful relationships. Avoiding performance anxiety requires quiet times of reflection alone and with others to produce self-confidence. She can develop self-confidence with colleagues to have joyful and fulfilling experiences. Creating time for thinking and communicating before and after performances is essential to her performance.
Emotional intelligence helps the performing artist become attuned to her inner signals. While she may understand the dynamic crescendos she performs in music, theatre, or dance she does not always know how to cope with interpersonal dynamics around her. Emotional intelligence is a predictor of intercultural communication apprehension among people (Fall, Kelly, MacDonald, Primm, & Holmes, 2013). There is also a value placed on more emotionally intelligent workforces (Mattingly & Kraiger, 2018). When the performing artist creates margin in her schedule for co-worker interaction, she will experience more personal competence and social competence. Living connections make opportunities for reflection and learning. Reflection teaches the mind to develop competency and accomplish emotional intelligence.
When a performing artist delivers her expertise, she can create a gap in meaningful relationships. Reflecting with co-workers and friends is vital for her. She can avoid anxiety by having quiet times of reflection alone and with colleagues to produce self-confidence. Self-confidence with contemporaries makes jubilant and rewarding experiences for her. Setting aside time to contemplate before and after performances will help her have a healthy and productive career.
Self Confidence with Clients
Including clients in the creative process is a tool for the performing artist to use as she selects thematic concentrations. Rapport with audience members and students allow her to muse and heighten her art’s relevance. A final instrument for her to avoid performance anxiety necessitates quiet times of planning to produce self-confidence. By developing her self-confidence for interacting with her patrons she can see the touch of the artwork. Patrons can display a variety of responses. They can become loyal supporters, zealous fans, and everything in between. She must have the self-confidence to guide the fan towards the zest for the artform, passion for the content, or purpose of the creation. Guidance happens through cognizant planning. Planning is a requirement for keeping her fan’s zeal in its place. Without confidence, she is open to the breach that creates space for anxiety to grow.
Arts patrons, clients, and fans are a broad base of people who enjoy her creative works as a performing artist. The insight and power of the audience can be valuable for her strategic planning. In the TLC program titled Toddlers and Tiaras, the network carried international scrutiny to the child pageant industry (Wolf, 2002). The audience communicated back to the network the possible long-term effects of child exploitation and domestic violence in pageant practices (Wolf, 2002). This controversial subject-matter was beneficial to the producers of the entertaining television show for increasing viewers. It also created awareness about a culture that derives enjoyment from the closed competitive performance circuit. Writers, producers, and actors have multi-layered purposes for their work. By remaining competitive and relevant to arts patrons her art form can thrive.
Audience members are the backbone of her career success as an artist. Including their likes and dislikes in her development process is worth-while. The affinity between patrons, students, and fans allow her to cogitate the relevance of her work. She is, however, disposed to the breach that creates space for anxiety to grow. To avoid performance anxiety, she requires quiet times of planning to produce self-confidence. Her development of self-confidence for interacting with consumers allows her to enjoy the effects of her artwork. Loyal and zealous audience members can inspire her next move. With self-confidence, she can inspire the fan to see aspects of the artistic process previously unexperienced.
The personal sacrifice of a performing artist helps her set aside her own experiences to provide a specific experience for her audience members. Depersonalization may occur momentarily for the duties of the job, but over time the process can create an internal conflict between her true self and the characters she is required to perform. This breached area is the space where performance anxiety grows. Avoiding performance anxiety requires quiet times for visualizing reflection, and planning to produce self-confidence. She must develop self-confidence with philanthropists, colleagues, and clients have joyful and fulfilling experiences. The development of self-confidence will help her persevere through trials and defeats better than external stimuli. Avoiding performance anxiety will also help her balance critical thought and naivety. Self-confidence is essential for her to have a healthy career in the performing arts.
Connor, U., & Wagner, L. (1998). Language use in grant proposals by nonprofits: Spanish and English. New Directions For Philanthropic Fundraising, 1998(22), 59-74.
Fall, L. T., Kelly, S., MacDonald, P., Primm, C., & Holmes, W. (2013). Intercultural communication apprehension and emotional intelligence in higher education: Preparing business students for career success. Business Communication Quarterly, 76(4), 412-426.
Mattingly, V., & Kraiger, K. (2018). Can emotional intelligence be trained? A meta-analytical investigation. Human Resource Management Review, Wolfe, L. (2012). Darling divas or damaged daughters? The dark side of child beauty pageants and an administrative law solution. Tulane Law Review, 87(2), 427-455.