Winning the Inner Game: Key Tips for Optimising P erformance in Music and Drama

1. Winning the Inner Game: Key Tips for Optimising Performance in Music and Drama

2. The Inner Game! • Outer Game is the one we all know – it is the concert hall, the stage, the theatre, etc. • The inner game is subtler – it is played out in the arena of your mind. The obstacles are mental obstacles • Problem arises when the inner game starts playing the person and not the other way around!

3. Mental Static • Concept of mental static – anxiety, fear of failure, self doubt all interfering with our natural ability • P = performance which is defined as the result you achieve, • p = potential (innate ability) • i = means interference – your capacity to get in your own way P = p-i

4. Thinking back • Think back to your worst experience – most painful and unpleasant performance experience you have had • Can you remember the little voice in your head pounding away at your last reserves of self confidence • http://www.youtube.com/watch?v=_tz9mbWgZg8

5. Remember the best • Now think back to the best musical experience that you had • Did your mind interrupt to say ‘ this is really great” or was it possible that you were so involved in what you were doing that your mind did not comment on it at all and if it did comment, did it nearly make you lose your stride? • These good times happen when we are so absorbed that we don’t let the mental gossip intrude!

6. The Science bit • What is performance anxiety • Can include any of the following:- • Fear, dread, stress, panic, nervousness, wariness, uneasiness, apprehension

7. Ripples in the Pool • The stone (performance situation) hitting the water causes ripples (thoughts) • If uncomfortable/nervous, you erect a barrier and the ripples bounce back on themselves causing internal chaos

8. Flight, Fight or Freeze Response • Primitive response – when faced with a threat. The body is put on alert. The heart beats faster so that more blood can be rushed to the muscles and the brain • Less blood in arms and legs so you feel wobbly and undisciplined fingers, dry throat, etc • So when faced with a charging lion, • You need to decide whether you fight, flee or freeze?

9. The Autonomic Nervous System • The sympathetic nervous system (accelerator)– its function is to rouse the body for all kinds of responses • But over arousal can lead to – little or no saliva, all or nothing thinking, tense muscles rapid breathing • Parasympathetic system ( the brake) counters all the above effects and bring the body back to normal • Enteric system – controls the activity of the stomach. When you get sick to the stomach or feel butterflies, you can blame this system. • This alert system can be counterproductive to performance because we are rarely faced with a charging lion !

10. Mental problems • Inner voice blaming. Doubting that the audience would like the performance • Forgetting the words or fear of • Forgetting the music or fear of • Fear of being judged • Losing the sense of timing • Feeling distracted • Losing concentration

11. The power of inner voice • Early messages can have a negative and positive influence • Can shape our beliefs about ourselves which in turn provides the script for our inner voice • Internal voices can be a friend as well as foe • Inner voice can become the inner critic or inner bully • The challenge is to change it to the inner coach

12. Learning from the masters • The challenge of the inner game is for you to bypass the critical interference of self 1 and unleash the natural power and grace of self 2 (that is , the vast reservoir of potential within all of us)

13. Preparation is the Key Preparation is key for successful performance Practice, practice, practice Helps to reinforce your automatic pilot Practice sessions can be difficult Try not to get discouraged You will be learning / developing You will be enhancing your confidence

14. 6 Golden Rules Remind yourself that you have practiced to the best of your ability Do not judge what is happening, what has happened or what is about to happen Do not second-guess any audience member’s reaction to your playing Be on stage, not in the audience Single out 1 aspect of your playing that is top priority Enjoy!

15. Rule 1: Remind Yourself That… ….you have practiced to best of your ability ….you have done your best, with what you know so far ….it is as much as you can do ….the time for practicing has passed ….it is time for your automatic pilot ….you should trust your automatic pilot

16. Rule 2: Do not judge… • ….what is happening • ….what has happened • ….what is about to happen • Self-judgement • takes you out of the present • can disturb your flow and your physical actions • can take you into the past or the future • Key: Be present to the music as it happens

17. Rule 3: Do not second-guess… …audience members’ reaction to your playing It does not help Can be wildly inaccurate Takes you away from the present moment Takes you away from the music.

18. Rule 4: Be on stage… ….not in the audience. You are in the giving, not the receiving mode Be fully engaged in the present moment Be fully engaged in the music You cannot be performer and listener at the same time, so do not try to be both!

19. Rule 5: Single out one aspect… …of your playing that is Top Priority Pick just one aspect Think about this aspect in the days when you are practicing Do not think about this one aspect while you are performing

20. Rule 6: Enjoy! Performing is about sharing what you love with your listeners Performing is a time for joy It is not a time to correct errors and faults Musicians tend to be too self-critical in performance Remember what got you interested in music in the first place!

21. The 4-7-8 Breathing Technique • A relaxation exercise you can do: • Anytime • Any place • Anywhere • Breathe in, mouth closed, through the nose, for a count of 4 • Hold for 7 • Breathe out, through the mouth, a loud exhale for a count of 8