“Conquering Performance Fears”- Sarah Willis talks to the Therapist Dinka Migic-Vlatkovic live from Salzburg talking about how to deal with stage fright. 28.09.2012
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Hey everybody whoever’s out there today lovely to see you it’s a nice snowy day here in Berlin and I’m very very honored and happy to have Dinka Michi how do you pronounce it blood kovitch I know of course Mitch it’s Megan sorry I should have asked that before latke which is no problem for us horn player so happy to have her here today
Dinka is a therapist is too much of a heavy word for me I’d say you’re a you trained you you’re a mental trainer for performers how would you describe yourself yeah it’s it’s I don’t like a psychotherapist word as well because as you say it’s more a mental training or mental coach what I would say mm-hmm well we are so happy to have you here welcome to the horn hangouts you have another reason for being here because your husband is rather than black kovitch who we all know and adore and hi to rather van if you’re watching if you’re watching
I guess so yes rather vans in Qatar where is he in Naples Alexis yeah hi mama hello Radovan hope you have a great concert tonight so Dinka you’ve come on to talk to us about how to tackle performance anxiety because i all around the world and everybody always wants to know how can i combat stage fright people don’t usually believe that because we’re in the
Berlin Phil they think they think we don’t have stage fright once you get a job and once you’re you know your honor everybody gets stage fright right everybody’s scared and assurance and it is good so it is a go so tell us why do we get nervous before we play well this is something actually mostly people think it’s because
I’m not good enough or I’m not prepared enough and that’s wrong there’s the first wrong thought about it it’s something we have in our subconscious for thousands of years is the reaction our body has on a let’s say dangerous situation so you know we were hunters before so our ancestors had this you know danger around them and our body learned how to react on a danger and the reaction is fight-or-flight so the body prepares for this unfortunately our subconscious has a huge file of like sixty thousand years of experience and subconscious has no intelligence of its own so it means it doesn’t make any difference
Between audience or getting of hungry Tigers let’s say sometimes so the reaction of our body is the same and the reaction actually enables us to you know to be fast to focus to run fast or to fight very heavy and things like that and this is actually the direction that you experience when you’re on the stage so this is the heartbeat sweating of the hands mind goes blind blank and and you know things like that it seems to hit everybody exactly where exactly where they can’t they they don’t need it it seems hits horn players here it hits strings here it lives about where we
Can lose use at least that’s it because you you actually trying to fight the stage fright you focus on the things that you need so you know the horn players need their muscles here facial muscles string players need their fingers and unfortunately this is the the place where you feel that you’re especially breathing for the horn players it’s a difficulty you know your your breath is short when you feel this fear so these are all actually does the symptoms why why should we why do we feel fear what makes us feel the fear some people know names but
I play with quite a few of them seem to go out there and just just do it does everybody feel a sort of fear or do you think some people can hide it better than others yeah they do they do on a different level for sure and it depends a lot of their let’s say a life experience on stage and as
I told you a day before your first stage experience is when you started to walk and you you could have a parents who are very relaxed about it when you fall down and say ok come on get up and go on and you can have also the parents very anxious and say oh don’t go you know so this is your first experience and it stays so this is also you know and also your first teacher did he you know take your first performances as a game or as a very serious matter that you you know have to really you know do seriously and with a
Lot of excitement and things like that so all these experiences are very important how certain person reacts on the stage and there are also different reactions it’s also the time of the reaction you know there are some people who are nervous before the performance but on the stage they are very relaxed they concentrate and they can be relaxed some of them only on a stage this is the worst part the worst thing there are people who who feel this stage fright or this nervousness and symptoms after the performance and you would say oh it’s great it doesn’t matter but it does matter we go up
To the performance I’d like to oh yeah oh yeah there are people who really throw up you know after the performance or had terrible headaches after the performance but the thing is even they suffer a lot because you know they know what happens after the performance so this this nervousness then you know spread also on before during the performer and after the performance so everybody has different reactions but the reaction is surely there you don’t avoid it and it’s not a point to avoid it actually and the the worst thing you can do is trying to avoid it or to ignore it because what happens
Is if you don’t confront it and and you don’t analyze it you don’t do anything about it you just think ok I’ll ignore it so you think sir can I just interrupt you in that so you’re saying if I’m sitting on the stage and I’m really scared and I’m not supposed I’m not supposed to say I’m not scared
I’m fine I’m not scared I’m going to do this ok this is the worst thing to do because then the next performance your entity level will be higher and higher because you didn’t confront your your fear actually you know you didn’t do anything about it you just try to avoid it or ignore it and then you know the next performance you know it will come and you didn’t do anything about it so it makes it worse actually and this is mostly what people do they try to ignore it of course because we don’t like we don’t like to confront nasty things in life and stage
Fright seems to be really it is something really quite nasty there are I find they’re there as I said there’s different as you said there’s two different types of people the ones it doesn’t seem to affect that much and the ones that it does affect a lot and and there are also people that had a long time being fine and then have some sort of traumatic experience and then it will it all sort of snowballed from there what in your experience of working musicians what’s what are the people come to you with what do they say to you what are their main complaints or or
Or fears yeah well it’s it’s very different it’s really you know something that it’s very individual let’s say you know so some people you know they are different there are psychological blockades like memory blockade you know like you forget what’s next and like behavioral things like compulsive neurosis so you start you know to to do some stupid things before there you go and say yeah yeah yeah yeah so it’s really very different but mostly its heartbeat it’s sweating it’s trembling it’s short breath so these are let’s say normal things the per violinist it’s it’s it’s fingers what about the discussion with them where did it
Happen yeah well they have they have mostly muscles convulsions or attentions or or things like that you know so it’s it’s really when the people come the first thing is to find out what happens during the performance then to find out you know the history of performing and the causes of it or the experiences you know with with performing and and then you know to unanalyzed it as you said when you have a real traumatic experience people try to forget it actually you cannot forget it your mind knows your subconscious knows you know so it’s much better to talk about it to go through it
Again you know to analyze what happened and to try to live with that to try to cope with that so and all the methods all the psychological methods working on a stage fright are actually analyzing it first so you have to know what happens and be really aware of what are you doing during the performance or before the performance and what happens if it possible for you in a in a in a therapy our therapies the wrong world word here but in your we are time with working with the student how do you reconstruct this this this fear because if someone comes to you and
Says look I have this problem on stage but it very difficult to reconstruct it in a room with someone nice like you so how can you judge who has what problem yeah you can you can you just tell them to close their eyes and to you know put the movie again you know on and and turn the movie what happened how did you feel you know you can do that if you give you focus if you really concentrate you can do that for sure you can even really feel you know the same fear that you felt at that moment so this this is something let’s
Say the beginning of the of the therapy or the coaching there are different methods and it’s also important what I do I to suggest different methods how to cope with that you know some people for some people it’s enough you know this cognitive method like knowing what’s going on knowing why does it happened and it all already helps you know some some needs some rituals to relearn you know the rituals before playing before performance and it helps sometimes mostly it helps the relaxation techniques like
I I try always with out again out again training or gentle yaaaaa or Feldenkrais or Aleksandra technique or there is a new technique I just learned and I love it it’s wing wave it’s the kind of relaxing wing wavy I yeah it’s the kind of relaxation as well so all possible meditations you know relaxing much muscle relaxation and things like that so it is no more time on the stage though to do
I found I mean I’ve done Alexander Technique and on the Alleghenies training for me I need something in that moment when I’m thinking go ten bars to go till the solo that that that’s that last one and sorry to tell you about all musicians want to have a rest that helps immediately at that moment well the thing is with all this everyone out there or
Masood yeah yeah no the thing is this is you know when you choose the technique that you use and that helps you that you feel comfortable with you have to train this you have to train your body you have to retrain your body and this is something this is the first thing I always say look this is something you need to train every day like you practice your instrument like you practice your skele or a scholar or or your technical exercises and things like that because if you want your body to react in a five minutes before performance you have to train our body for
That so this is this is the you know this is the clue really to train to be resistant you know to do it I’m sorry not I’m finding out how well first of all as I say you have to find the technique that suits you that you feel comfortable with not everyone is you know comfortable with meditation or
I don’t know it’s virtually impossible five minutes before performance we are running around I have everyone in the horn room usually on the iPhones but no we’re not supposed to say that no warming up and and and it’s just a lot going on and then we go to the stage and we will wait together and it’s very loud and there’s really very little time to just be peaceful
I very often and I try to teach everybody this jacobsen are like muscle relaxation technique I don’t know yeah I know yeah yeah I was gonna say that someone really has helped we as someone’s just asked dinkus Steve has just asked wing wave how do we find out about that does anyone know out there on the chat maybe you can put a put a link there is a
German doctor who who started it and there is a lady I I started with in in Vienna it’s actually it’s a technique that uses you know during the REM phase during the sleep yeah the the deep the deepest fever or asleep there is yes okay then your eyes are moving yeah so what they both with the rapid movement the rapids
I what I call yeah REM yeah about now yeah so you they teach you how to how to do it yeah and that’s your body reacts with the relaxation that’s fantastic it works well can’t you well not really because people think you’re falling asleep but you can do it this is for example I liked it so much because this is like a
Jacobsen technique this is something you can do really quickly just before the performance just to calm down and focus on your exercise so to say you know and you can do it you know when everybody is around and you just you know focus for for a minute and it helps you know the name of this doctor that’s because
I’d like to be able to show all our viewers out there Goodwin wave it will show you on internment in German its ving wave so yeah okay so it may be one of you guys can can google that and put the put the put it up on the check out be fantastic otherwise I’ll see what I can do to find out about it and then and then post about it yeah because it’s your hands to me yeah absolutely so something that that’s very that’s a very quick muscle mutation of letting go and
I to be honest if I’m telling a big secret here I’ve noticed that on stage I get very tense in my legs just before I solo I so locally we don’t have that many solos on low home but when we do believe me they’re quite scary so I noticed that my legs went went really really tense so
I tried to tense them up and let them go before which means that the tension is going out of the body well it’s not as best as we can Thank You Simon for putting up the link okay great so but this also doesn’t help if you do it only on the stage and before the performance this is something that that could help but if you train this really regularly every day because your body has to learn it you know this tension and relaxation it has to make you know the connection between these two so this is something you cannot use and mostly people use it
Just before the performance and they say well it doesn’t work you know no it doesn’t work it doesn’t work if you didn’t practice it for a longer time before so this is something you really need to take seriously as an exercise every day exercise you know well I really hear you because it’s something I could really do with as well and
I don’t know what you’re all groaning out there because it quickly is true believe me that the higher level you you play the worse the fall is and everyone is very very aware of you know what there is to lose especially if you’re making a living out of playing the horn or whatever instrument you do but a lot to lose so being paralyzed by stage fright is just something we just can’t allow ourselves to do and and think is very right
I don’t practice it enough I practice my horn anyway but I don’t practice this so this is definitely something I’m going to be looking into thank you for that you know what it’s also you know there in the meantime there are some psychotherapies working with the musicians and well I can tell you I am a psychotherapist but
I was also on a stage so I know what does it mean so it’s it’s a lot about experience as well you know the psychotherapist he’ll be the theory you know look and they can they try to teach you and they don’t understand what’s what’s wrong why can’t why can’t you learn it you know people I have this you played it you played that really well for three nights why on the fourth night you’re suddenly terrified you can’t say anything yeah
I mean this is my you know I’m really happy about it because I had this experience you know so I can react them on you know what what you are telling to me I was also playing violin and I was on the stage I worked as a journalist mostly life so I know how nervous you are so this is something different you know one thing is a theory is psychological theories and the other is experienced with it could be really terrifying
I know that you know ironic has just asked a question is it possible to end stage fright permanently now if I’m allowed to yeah I was just about to say do we want to even engage no no because there are a really great effects of this anxiety or this fear hunter something good about stage fright I mean you are not aware of that but when when you when you have this adrenaline you know coming up there are certain things that you need as a musician first thing you need it’s you know focus and you do focus the other thing is your vision widens your peripheral
Visual yep violence and do you need you need to see your music and the conductor and your colleagues and that’s what you can do only only if you feel this excitement you know so this is the positive thing about it so we and also you know this excitement gives this this this emotional you know feeling that audience feels as well you know so being just completely cool and relaxed on the stage doesn’t bring a good performance so so it’s not you know
I always say we don’t want to you know get rid of stage fright we want to live with stage fright and to be in control and this is the most important thing that you feel you are under you are in control not you are under control of you know of your fear so and you are exposed and you cannot do anything so when you train this when you really exercise something of these methods you know whichever you choose then you train your body and you feel from one performance through the other and from day to day you feel more in control and that’s the most
Important thing it’s not to you know get rid of it it’s to be in control what about the people that have had sort of like a trauma with all of a sudden being nervous and and it feels sometimes like spiraling to a black hole you become more afraid of being afraid and then you’re afraid on stage because you’re being afraid of being afraid and in the end all you’re afraid of is being afraid not afraid of play but you’re afraid of this mess yeah the only thing that help that helps then it’s really to analyze it you know then you need a coach you know
To analyze what happened at that moment what happened that day what happened before or during you know the performance so this is the only thing you can do it really go deep inside and analyze what happened and then go through this you know what I try to do always to put the person in a relaxed stage with whatever meditation how to get training positive pictures in your mind and then go through this through basics bad experience you know in the relaxed stage so this helps this house but this is really worth working on it someone
Andrew and he’s from England shame on you andrew has just written some people use alcohol we should be be mentioning alcohol here I definitely wouldn’t recommend it okay not shame on you good for you for saying that what does what does Dinka think well I know what think is gonna say the same as us you and me it’s rubbish you know what this is the thing a lot of musicians really take alcohol or any drugs
I know their inner states they use better blockers as well a lot what happens then is it’s like you have a healthy body and you in and you move around in a wheelchair and you think you cannot walk without wheelchair anymore the same with any drug you use you know after a while you don’t you know you didn’t do anything on your own your you know for yourself it’s only the drug that helps you and you take it and you take it more and more and we know that it it is dangerous
I mean it’s not the drug can’t help you really play better though can it because you play as good as you play the drugs may just help you take the edge off being so scared now yeah but then you’re used to take anything before something whatever but you don’t get used to but you didn’t do anything to be yourself in control of your stage maybe but
I’m sure it’s a much better feeling to be in control yourself obviously yeah the ideal the ideal way I remember rather than saying if he wasn’t nervous when he went on stage he’d be worried yeah he says always if I’m not nervous then it’s a bad performance for sure and that was a bad call there was no feeling in aid there was no emotions you know nothing so we are human and and that’s why actually you know white people still although we have internet and
YouTube and the recordings people still really love to come to the concert because this live experience and this live experience is actually your emotions as a performer you know spreading in this hall to the audience so no we need it we really do need it you know and if you take some sort of drugs for that you know whether they be whatever you take these days
I’m sure there’s a hundred different things you can take that dampens the the physical experience that you can have during your concert and that’s actually the main reason why I became a musician was because I just love this feeling a feeling that I had after a concert and I can’t imagine dampening that down maybe with alcohol I don’t even yeah like
I can’t speak because I don’t think I ever played plastered but I’m sure if I did I probably think I was great but probably everyone else wouldn’t yeah but I just found him adding that you know how we taught our kids not to when they party somewhere you know we told them look it’s wonderful to know the next day what happened during the
Nile no you Karen yeah I mean that’s the same with with experience on the stage you know it’s it’s good to know what happened you know to really be aware of it some people the stage fright can be so crippling that making music becomes something awful for them and and and is it it’s very important for me
I think to get to get back to the love of the music that you’re doing but have it that that’s that’s not to do with your muscle relaxing with your with with you know this wing wave or anything that’s more of a mental state you have to get yourself in so about why we’re doing this in the first place there today and it’s you know it’s something that musicians they have to be aware the audience that comes to the concert okay they had probably a bad day you know the boss was unbearable or you know somebody’s healing a family or whatever happened during the day
They come to the concert they just want to hear something nice and maybe two or three critics sit there or musicians you know listening to every note but the other is the most of people sitting in the audience they just want to enjoy music so they are not so critical as you musicians think on the stage you know and
I could I won’t tell you which pianist it was but I heard a concert of a great pianist who was obviously not prepared so he really missed so many notes but this was the best better and third I ever heard in my life because it was so you know so intense so so full of feelings and emotions and everything
I didn’t bother you know the missed notes and this is something the musicians have to know also you know what what the audience feel during the performance but I it’s not smart I totally agree with that but if in a professional orchestra we often are more worried about what our colleagues will think in as a student you’re often more worried about what your fellow students will think than what the audience can think and that can be a bigger pressure for someone then then what what the audience is going to say also in an audition situation you know that there are real professionals out there and
We you only have like as a musician you have one chance to get it right and that puts that also puts you under a huge amount of pressure so you have to it’s all very well getting the body relaxed but the brain has to be in a state of focus and Titanic yeah sure and and these are this you know like mental techniques you know that you learn you know how to switch off your you know everything that goes on and and expending what techniques do you use with people for that
I mean because I mean we know the inner game of music and yeah like that yeah get back into a state of control with the press it’s it’s you know I told you also about that it’s not you have to avoid telling lies to yourself like I’m calm I use that on stage today Dinka I thought of you well please tell everyone what we talked about the other day because
I thought that was really fascinating yeah because you know there is this you know technique of positive thinking positive opposite suggestions and people use it and they can do more harm than event and then you know something good about it because your subconscious knows that this is a lie if you are trying to tell yourself I’m relaxed
I’m fine I’m perfect I’m good and your subconscious says no it’s a lie I know I know I’m nervous you know then what subconscious does she tries to to higher the level of your nervousness and your body reactions and that’s terrible actually what happens then so the thing is if positive suggestions then the ones that are not a lie so something that you really think positive like
I don’t know if you know that you have good prepared and I’m good prepared today to myself on stage I said I said I am so happy and proud to be here on this stage playing with these musicians well I I was so busy being happy and proud that I was there that I forgot to be nervous about the hard bit so
I really hate you guys it really works it works no it works because it’s a true you know something it’s always positive on stage you know like you say being proud to you know play with these colleagues being happy to be on this great stage you know being happy about the fee or the supper you have after the happy with your colleagues or you know whatever but when you give you yourself you know some positive suggestion it has to be true it has to be something that you really think because everything else just causes you know the sufferer goes goes up so it’s no good
Yeah okay so so say let’s try this on on stage next time we’re really nervous to try and think of something positive about the situation we’re in and say that to ourselves and that has a calming effect because you know you say the truth you say the truth like I’m so happy that I don’t know that audience is so full today you know so they’d like to hear us or whatever and when you start to think something that is first of all true and secondly positive it comes your mind down that’s for sure you know you can even you know make it as a mantra
And repeat the sentence you know really like 100 times if you need to but when you repeat it it calms you down you know it’s positive it’s truth it’s really important it’s it’s truth so it comes you down you know because you are talking to yourself something really positive yeah great thank you I really appreciate that tip and you know be interested to know if any of you try that out there that’s if that works for you let’s get to some questions if we may because they’re coming in fast and furious margarita says she’s very nervous when it comes to playing see note or two
Addition sometimes taking beta blockers but her biggest problem is that the nerves because her mouth becomes dry and and that it’s very hard to control I know the mouth getting the mouth dry some people say if you take beta blockers your mouth gets dry anyway but the point of all this is to get us off all these things and get us doing it without any help from outside influences so how can we if we think our mouth is going to get dry is there any any trick that we can use against that
I mean all the brain Wheatley if you think if you think your mouth will be dry it will be for sure so it’s also when I work with a Jacobsen relaxation technique I always teach them and that’s what the people when you know what when they are not coached what they do they try to relax the muscles they need and this is wrong because then you focus on the muscles you need and they they’re tense immediately so so when you do
Jacobsen relaxation technique you do it with all muscles you don’t need your food for example your knees your I don’t know you do need your muscles here to play so when you do yeah so when you do it when you do it just do with the muscles that you don’t need you need you focus on other parts of your body and your focus is off the parts of your body and the muscles that you need for your playing and this is already something helping you to to relax these muscles okay so if someone’s suffering from a dry mouth for example they should try and relax
Their ears or something and not think about getting them out and responsible for your speed beat your feet your hands and things like that as myotismon relax your feet next time you have a dry mouth okay I mean it it sounds very funny but it’s really true okay there’s some other things coming in when we encounter Sean asked when we encounter bad anxiety anxiety on stage especially before an important part in the orchestra like one bar before the solo in
Tchaikovsky five how can we use it to our advantage in that moment that’s a good question yeah well I know what does it mean a horn player in the orchestra especially solo hard so it’s like you know I’m not saying I must say anybody who knows rather than just cannot believe that this peaceful secure amazing guy ever gets nervous in his life but you know and that’s good but
I know what does it mean it means like counting the bars before and then you have to come there with two notes which have to be perfect yeah and and this is you know and then you know you’re nervous is Rises and then exactly at the moment when this node has to come out yeah you are blocked completely the trick is what can help is to to anticipate this knows before so to have them in your in your ear or in your mind before so trying to ignore the orchestra playing the bars before and trying to visualize actually or you know the notes you have
To play just anticipate the snow before it’s trying to give yourself something different to think of is that right rather than yeah yeah and and maybe just to think of the color just try to imagine I mean this notes are or this phrase that you have to play in some color or is it soft is it is it warm is it sharp so to think about this note in in some you know picture let’s say a picture with colors with the edges or not edges you know round or so so to visualize this note and then you when you start you know then you don’t
Think anymore or it’s coming you know what the problem is it’s hard to practice this because this rarely happens when you’re practicing I mean at home we’re great and then you get on the stage and so the only time we can really practice is in rehearsals okay that’s fine in a concert it’s hard to practice because if it goes wrong then well you know yes it’s no no sorry you can practice it that’s what
I said visualizing the notes that you have to play you can do it at home also before any even technical exercise or whatever try to do this exercise to visualize the note how do you want it to sound you know does it flow does it vary you know spread or focus or whatever but try to visualize this note you can practice this even at home you know before any any notes you blow up you know and and this happens then at the concert and you know already what you are doing you know so it’s like a little routine like a sort of mantra it’s also
A little practice routine that you’ve built up for yourself along with the relaxation that’s raised but my friend Jasper Reese has destroyed us from London hello Jasper and he wanted to ask something that I find very important how do you shut down all these voices in your head the voices that come to you just before so and say oh you’re gonna mess up or oh you’re gonna do do this
I know ducky what he means I usually have about six or seven of them going on at the same time that’s again I I cannot say how important it is to practice the mental techniques to practice it so to have a voice that you control and make to make it louder than the other voices so to say you know what
I mean so to practice some words some sentences some pictures that it after a while when you practice that they are louder than the voices you hear so you really think that’s possible yuria you think it’s really possible to get that done that yes it is but it’s me well if I ask you did you play your
I don’t know Mozart concerto immediately after two exercises or two lessons you didn’t so it’s the same so you needed your years and years of practice horn and your instrument and you think this is normal I have to practice first 2,000 tons and then three and four you know what I mean and then one day I will play a
Mozart concerto and it’s the same unfortunately it’s the same with the mental techniques you need to practice them for a while it’s not something you can use immediately I cannot give a recipe no of course we’re all go watching you online or all these people and and hoping you’re gonna be the Guru to solve all our problems
I must say it’s absolutely fascinating talking to you and what I think we should do is maybe do something like this on a regular basis online for people you know who really struggle do you probably also give classes you know workshops workshops help a lot I mean they’re not gonna ask you but you live in Salzburg so we have to get you set up with an online and workshop so that people can sign up person or something because
I know I intend to have my website from January and and do really exercises or coaching on skype I didn’t try that before but I heard that you know there are some people doing it I’ll try to do it as soon as you do let me know and I’ll make sure that all oh my son out there in horn lands
I can know about this because I think I’m going to be calling you up secretly without everyone watching about these tips people have been writing all sorts of things meditation is extremely useful to everyone’s giving their own tips here which I think’s great meditation is extremely useful it’s hard for me I find it’s hard to find a really peaceful place before a concert to do this end but
I mean it’s what else do we have Oh Kendal grey but her Sethe who’s a legendary principal trumpet of the Chicago Symphony said he when asked about what he thought about being on stage he said he imagined when he was in his basement at home when he was on stage at the symphony hall but when he was at home practicing he imagined that he was in the symphony hall so
I gave well the imagination and this you know pictures in our brain that helps a lot that really helps a lot but you also have to learn to evoke folk them when you need them you know and it’s also a lot of humor and fun helps you know the Animus of stage fright humor and fun you know so you know the feeling of having fun you know and you know joy about playing as well and a lot of humor you know
I I hear the people who enjoyed it and that’s that’s what I say it’s very individual you know everybody has to find his way to cope with that and to control it there I told I thought the musician who is only on stage he is very serious but but normally he is a very funny person you know with a lot of humor and
I said look could you imagine that your audience day that they are all sitting on a loo you know and and you know and you help them you know because they have stomach ache and you know and you help them with your music and he said it was wonderful he came out another stage laughing every time and and feeling you know and feeling more relaxed about it so the water saying it everybody is individual and everybody needs to find that there’s no one secret yes and like it’s like any sort of teaching when
I go somewhere and just because I say something’s good for one person it doesn’t mean it’s good for everybody so I think I think the best thing we can take out of this all of us is is that we take every bit of what what Dinka says or what Jeff Nelson says or whatever helps us and uses that everyone should make up their own palate of of tips and things but
I really think it’s important that we’re taking away from today is that we have to practice it we can’t just expect stage fright just to go away and leave us alone we really need to practice we need to I love this that states that humor and fun is the enemy of stage fright I love that I love that already and in my section we have a lot of fun so obviously we’re doing we’re doing something good again stage fright yeah doing the best thing you can take that away and take away that we need to practice it’s and and
I think we need to get you back because when I was studying nobody talked about this this was like a big taboo subject nobody wanted to talk and I have the feeling that even just talking about this maybe even just going out online talking about this in public it might make people think feel like they’re not alone you know yeah yeah
I might actually I learned a lot from the sport man you know because there is more money in a sports than in a music they started earlier you know to work on a mental preparation of the sportsmen and I learned actually a lot from them because they you know they analyze they they they have all possible ideas and techniques how to work in a sport because they have a stage fright as well as you do before and then things like that and it’s even terrible for them you know if they block so so this is really important and and they know a lot about it
And actually the musicians until recently they didn’t talk about it everybody was ashamed to have a stage fright and this was something everybody you know had to cope alone with that and and thought actually I’m not good enough or I’m not prepared enough and this is the first problem actually the first problem that you talking about it and knowing that everybody feels something you know it helps already you know there are a lot of people who are already relaxed when they know this is normal oh okay
I can cope with it this is normal this is this really well that’s what we that’s what we’ve done today and I really hope that it helps all of you out there I’m sorry I didn’t get to everybody’s questions but Dinka will have her here website up in January I hope and and I really hope that you’ll be part of our big online brass explosion and in connecting everybody and just
I can’t thank you enough rather than if you’re still watching you have the most amazing wife thank you so much for coming on really really appreciate it yeah everybody out there I’ve just had some I hope you really enjoyed that as much as I have thank you for joining us I’ve had some great news today on Monday we have a special guest
Myron Blum who’s in Indiana Jeff Nelson is going to get him into his studio for an interview with him so that is an incredible honor so I hope you guys can join us on Monday and until then thank you very much good night to Tim in Melbourne who stayed up again really really late to do this live stream for us so good night
Tim bye Dinka to Salzburg and bye
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
