labels

One of the most valued traits in a performer is expressiveness, defined in the dictionary as the ability to effectively convey a thought or a feeling.  So why do some people seem to be more expressive than others?  Why is it that some people can "own the stage" and engage an audience right away, while others leave you daydreaming about your drive home.

The first thing to realize is that "expressive" is a label, and labels are dangerous.  You can't be expressive in the same way you can be short or tall or black or white - it's not a physical trait.  If you believe you're not expressive, it's most likely because you got that impression from some previous life experience - on the stage or off - and you turned that one-time evaluation into a label that you attached to yourself.  That's the danger of labels!  They make solid reality out of ephemeral things.  So if you think you're not expressive, the good news is you're wrong.  The bad news is, you may have wasted a lot of time not doing things you would love to do, like getting on the stage if that is your dream.

Still hanging on to the label?  Believe me, you can be expressive under the right circumstances.  How expressive are you when someone cuts you off in traffic so that you fear for your life?  I bet you don't have any trouble "effectively conveying a feeling" while you're telling that careless driver exactly what you think of him and his cell phone!

It's a recurring pattern - we lose our usual human skills as soon as we get into a performance situation.  So the question is, how can you make sure you bring every bit of human expressive capability that you have to the stage, and use it when you need it most?

Obstacle number one may be stage fright.  It's hard to get into a performance when you're in the vicious circle of performance anxiety.  Perhaps a previous, terrified stage experience is where you got your "not expressive" label in the first place!  Fortunately, there are lots of ways to get over your nerves - you can start here.

Obstacle number two is that you need to know what you're trying to express, and to know that, you have to understand your music, scene, presentation or what have you.  If you're just up there reciting empty words or notes, it will be apparent to the audience immediately.  And you can't just dress up empty notes or words with the hollow characteristics of other people's expressiveness - following the composers dynamic markings, for example, doesn't fool anyone into thinking you're being authentic.  Neither do the "tricks" of powerpoint-type presentations self-assemble into an effective sales presentation.  And of course, the actor's job does not end when they have memorized their lines - far from it.  You need to understand the humanity beneath the words, and the interplay between the players.  Then your own humanity will direct your expression well.

Obstacle number three, once you know what you're trying to express, is that you need to be able to put yourself into that scene so completely that you start reacting emotionally to what is happening.  That means learning how to focus your attention on things in the scene, rather the elements of your reality that will try to distract you - the audience, the lights, your sore leg.  The track of your visualization through the piece or the scene needs to be vivid enough to hold your interest.

That's not the end of the story, but it's a good start!

Step number one, and you can take this to the bank - you are an expressive person!

Yes you have stage fright, but are you sure it’s a problem? Is it really so bad? You’re supposed to feel something when you go on stage. It’s not like folding the laundry. A lot of performers, tending towards the “thrill seeker” personality type, actually relish the adrenaline rush that comes along with butterflies in the stomach.

Personally, my challenge has gone from stage fright to something like the opposite. You’ll often see me yawning back stage, just before going on, or doing jumping-jacks or push-ups to get my energy level up for a show. I think it’s a coping mechanism that started with bad stage fright in the early days of my singing career.

What you want is to achieve what psychologists call the “optimal level of arousal.” Certainly too much nervousness can ruin your performance, but a lack of energy can be every bit as bad when you’re shooting for passion and impact.

You have to ask yourself, is it really so bad? And even if it’s quite uncomfortable, does it really affect your performance?

Some studies referenced in Wilson’s book have shown that audiences seem to like performances best when the performer felt he or she was a bit too nervous! And if your priorities are in order, you have to admit that the audience’s opinion is more important than yours on this one! Or do you find that everything is always about you? ;)

Consider your symptoms and how you label them. So you’re sweating and your heart is beating fast – if you were riding your bike, you would just call that a good workout. If you were having sex, you would call it really good sex! Perhaps you can take your stage fright symptoms, label them as “exciting performance” and be cured!

Bottom line, maybe you can learn to accept your stage fright symptoms, and stop worrying about it.

If not, read on.