| Abstract [eng] |
A musician-performer experiences many different emotions related to creative activity on stage. One of them is the fright of the stage, which affects the performer's activities in various forms and ways. The tension that performers experience varies. It helps some and hinders others. It is therefore important to look for ways to overcome this fright. The object of the research is the fright of the music performer's scene and the possibilities of overcoming it. The aim of the study was to evaluate the ability of the music performer to overcome the fright of the stage. 4 tasks were set for the implementation of the research, theoretical and empirical methods were used. Nine respondents took part in the research: 3 students playing guitar at the Rokiškis Rudolf Lyman Music School, 3 teachers-experts at the Rokiškis Rudolf Lyman Music School, 3 music artists performing in Lithuania and abroad. After analyzing the scientific and methodological literature and conducting a qualitative study, it can be stated that in order to implement the idea embodied in the composer's musical work, the performer must have physical endurance, accuracy of movements, and coordination skills throughout his life; Positive emotional experiences in music school are necessary to arouse interest, deepen knowledge, and strengthen self-confidence. However, the school is faced with situations that can cause mental tension, fright of the stage; in adolescence, children mature both physically and mentally. Due to the particularly rapid changes in adolescence, children become dissatisfied and self-confident, shy, and therefore particularly affected by environmental factors. It responds to the emotional and musical expression, the control of the stage, the relationship between the performer and the listener, and creates favorable conditions for the fear of the stage to form; Research showed that proper performance of a concert performance is influenced not only by proper theoretical and technical preparation of the musician, but also by his personal psychophysiological characteristics. Although the concept of music, the music performer and the public performance and the conditions for performing it are constantly changing, the expressions of the stage's fright and the tendencies to overcome it remain similar. |
