The Performer Identity: Long term Solution for Stage Fright

So in the previous post "Stage Fright," I mentioned that the performer identity can be used as a long term solution to ward off stage fright.  And in "The Performer Identity:  Sociologically Speaking," I sort of explained that the performer identity can be a mentality that dictates how one behaves while fulfilling the role of a performer.  As a long term solution for stage fright, the performer identity basically acts like a self-fulfilling prophecy.  Whatever happens will depend on one's attitude, especially since the physical responses to stress and excitement are very similar.   If I was super nervous and so certain that I'm going to embarrass myself in front a crowd of people, then most likely I'm going to embarrass myself.  If I kept a positive attitude even though I was still feeling the adrenaline, then most likely I'm going rock my performance.  I'm going to list some of my outlooks from my performer mentality that apply to the unique situations I encounter as a performer.

I do this because it's fun.  I enjoy performing.
If not, what's the point in doing it?

Photo by Deborah Sabo

Go Big or Go Home.
I personally feel that there is no point in performing anything half-assed.  Otherwise it's a complete waste of time for both me and the audience.  Time is a precious commodity that's always on limited supply.  So my goal is to always exceed expectations.  With that in
mind, I am mindful of the venues and the audience's expectations.  If I had an opportunity to perform at a show that's selling $50 tickets and everyone expects me to perform as well as Mira Betz, Rachel Brice, and so on... I will decline. Right now, I'm not at that level.  I can't go big and give the audience what they want, so I'm not going to waste their time.  But if I'm at a festival where advanced dancers share the stage with the masters, meaning expectations are lower, then I have more room to impress.  I will also feel more comfortable and more confident and more ready to give everything I got.

Another reason to always give your ultimate best: every performance is an audition, even those casual ones where you don't get paid.  I have gotten new students in my classes and new performance opportunities simply because my performance and my interactions convinced people to invest in me.

It's more important being confident than faking awesomeness...
In order to do my best, I will stick with what I know so well that I don't have to consciously think about anything.  More time for having fun!  The stage is not a place for me to try out combinations and techniques that I have not mastered yet.  Double emphasis on mastered.  If I have successfully done flutters only once during practice last week, it's not coming out on stage.  Yeah sure it would look awesome, on the off chance that I might be able to do it.  Rather than putting that extra stress on myself, I'll just stay in my comfort zone.  Things I can do extremely well without even thinking about it.  Staying in my comfort zone gives me confidence.  And as far as human nature goes, confidence trumps ability.  

What will Happen Will Happen.  

What I love about performances is that they never go according to plan.  Even when you rehearse a choreography until you're sick of it, there will be that one little thing you mess up even though you always nailed it perfectly in practice.  Since perfection is not a part of human nature, we shouldn't strive for it.  So expect the imperfections to happen because they will happen.  Allow yourself to make mistakes and never expect a perfect performance.  As someone who strives to be better than my best, I always see room for improvement even if I didn't make any mistakes.  Again, perfect perfection does not exist.  In my mind, I redefine "perfection" to mean that no one got hurt, all "mistakes" were cleverly disguised, and everyone had a good time.  We are not deities, and there is beauty in imperfection.  It makes the art unique and organic and relatable.  

So instead on focusing on flawlessness, try practicing disguising mistakes as intentions.  In solos and group performances alike, the audience won't notice the difference between mistakes and intentions, especially if you do not draw attention to the mistakes.  When your face scowls when you obviously made a mistake, you're telling your audience, "I messed up."  That takes away their joy.  The interaction becomes awkward, and the audience is no longer entertained.  Reporting your mistakes only provokes sympathy and/or criticism.  That's not what we want our audience to feel unless it's an artistic choice.  I always smile when I make a mistake and then I move on.  If I don't keep my focus, I'll mess up again.  

I always love learning something new...

Mistakes are discoveries and learning experiences, which makes all of them beneficial.  It's an opportunity to learn.  I may discover useful variations to use in the future, and these variations will make my stylizations different from other belly dancers.  I may discover reasons why this "mistake" should not be repeated because, for example, it can cause an injury or doesn't create a pleasing silhouette.  Because of these "mistakes," I know something that I didn't know before.  With this positive outlook on imperfection and not expecting myself to perform flawlessly, I'm in the mindset that minimizes anxiety and maximizes joy.  

Another thing to consider is that new situations cause anxiety as well, but the more you become familiar the more the anxiety wanes.   Treating unfamiliar venues and situations as learning opportunities is a guaranteed way of making a scary situation into a positive one.  I like to become a wallflower and simply observe while working through the process.  Naturally, I'm an introvert, but that's me hanging out in my comfort zone until I'm ready to venture out.

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A lot of these outlooks reflect me as a person and my goals as a dancer.  The performer identity is an extension of self.  It's who you are as a person at performances.  Having this self awareness is extremely useful when defining personal goals and giving personality to artistic expression.  I recommend taking the time to reflect your experiences as a performer, even if you're an absolute beginner performing at student haflas.  Use whatever method is comfortable for you, e.g. journaling, meditation, or vaguebooking.