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Out of the darkness of the fetid Hudson River, the undead rose to eat their victims alive.... Horror-movie monsters burst from late-night TV screens -- to turn their viewers into victims. Biker gangs of decomposing corpses rode the highways of America, on the hunt for unsuspecting motorists.... Take a front seat in the baddest nightmare in town. Superstar Izzy Stark has the power to make your dreams -- and nightmares -- come true. He's the master of disaster, the guru of gore, the doctor of doom, the duke of death and destruction -- and you can't escape this command performance. This first-ever reprint of Garrett Boatman's rare '80s paperback horror gem Stage Fright (1988) features a new introduction by Will Errickson and the original cover art.
Stage fright is one of the human psyche's deepest fears. Over half of British adults name public speaking as their greatest fear, even greater than heights and snakes. Laurence Olivier learned to adapt to it, as have actors Salma Hayek and Hugh Grant. Musicians such as Paul McCartney and Adele have battled it and learned to cope. Playing Scared is Sara Solovitch's journey into the myriad causes of stage fright and the equally diverse ways we can overcome it. As a young child, Sara studied piano and fell in love with music. As a teen, she played Bach and Mozart at her hometown's annual music festival, but was overwhelmed by stage fright, which led her to give up aspirations of becoming a professional pianist. In her late fifties, Sara gave herself a one-year deadline to tame performance anxiety and play before an audience. She resumed music lessons, while exploring meditation, exposure therapy, cognitive therapy, biofeedback and beta blockers, among many other remedies. She practiced performing in airports, hospitals and retirement homes. Finally, the day before her sixtieth birthday, she gave a formal recital for an audience of fifty. Using her own journey as inspiration, Sara has written a thoughtful and insightful cultural history of performance anxiety and a tribute to pursuing personal growth at any age.
Best-selling Author Janet Esposito brings more than a decade of experience helping people learn to speak and perform with calm and confidence. In Getting Over Stage Fright, Janet offers a new, holistic approach to this age-old problem, sharing a wide array of principles and practices to help you create the physical, mental, and spiritual well-being you need to get beyond your speaking or performing fear. This book is especially helpful to those who have moderate to high levels of performance anxiety, though it can also help those who have a milder case of the jitters. It will help you in all types of speaking or performing situations, ranging from the most casual to the most formal. It will also help you reduce and better manage any anticipatory anxiety you have before stepping up to speak or perform.
MARK SCHULMAN - CONQUERING LIFE'S STAGE FRIGHT
Come for a visit in Bear Country with this classic First Time Book® from Stan and Jan Berenstain. It’s time for the school play, Grizzlystiltskin, and Sister is playing the Princess! But when she gets a bad case of stage fright, will it be curtains for her, or will she be a big hit? This beloved story is a perfect way to teach children about nerves and rising above adversity.
Why is it that well-prepared, talented, hardworking, and intelligent performers find their performance and self-esteem undermined by the fear of memory slips, technique failures, and public humiliation? In Managing Stage Fright: A Guide for Musicians and Music Teachers, author Julie Jaffee Nagel unravels these mysteries, taking the reader on an intensive backstage tour of the anxious performer's emotions to explain why stage fright happens and what performers can do to increase their comfort in the glare of the spotlight. Examining the topic from her interdisciplinary educational, theoretical, clinical, and personal perspectives, Nagel uses the music teacher/student relationship as a model for understanding the performance anxiety that affects musicians and non-musicians alike. Shedding new light on how the performer's emotional life is connected to every other facet of their life, Managing Stage Fright encourages a deeper understanding of anxiety when performing. The guide offers strategies for achieving performance confidence, emphasizing the relevance of mental health in teaching and performing. Through the practices of self-awareness outlined in the book, Nagel demonstrates that it is possible and desirable for teachers to assist students in developing the coping skills and attitudes that will allow them to not feel overwhelmed and powerless when they experience strong anxiety. Each chapter contains insights that help teachers recognize the symptoms-obvious, subtle, and puzzling-of the emotional grip of stage fright, while offering practical guidelines that empower teachers to empower their students. The psychological concepts offered, when added to pedagogical techniques, are invaluable in music performance and in a variety of life situations since, after all, music lessons are life lessons.
Here is a book for everyone who dreads speaking in public.
Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Nôh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scène. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
This informative, first-of-its-kind publication discusses how to deal with the hazards of solvents, paints, pigments, and dyes; plastics; woodworking; theatrical makeup; welding; and fog and other special effects. Nearly 40 charts, diagrams, and cartoons illustrate the unique problems that threaten health and safety in the theater and their solutions. This is a guide practical for everyone in the performing arts.
Stage Fright in the Actor explores the phenomena of stage fright-a universal experience that ranges in intensity from a relatively easy-to-conceal sense of anxiety to an overwhelming feeling of terror-from the actor's perspective, unearthing its social, cultural, and personal roots. Drawing on her experience as both an actor trainer and a licensed psychotherapist, Linda Brennan recounts the testimonies of professional actors to paint a clear picture of the artistic, behavioral, cognitive, physiological, and psychological characteristics of stage fright. This book encourages the reader to reflect on their own experiences while guided by the stories of fellow actors. Their personal accounts, combined with clinical research and practical exercises, will help readers to identify, manage, and even conquer this "demon in the wings." Stage Fright in the Actor is an essential tool for actors and acting students. Its insight into the many manifestations of stage fright also renders it as valuable reading for acting/performing arts teachers and directors, as well as anyone who fears stepping "onstage."