Paper on performance psychology 1
On the application of psychology in performance
Based on psychology, this paper discusses the basic scientific principles and concepts of psychology. The application of psychology in performance is mainly manifested in the analysis of characters' thoughts, personalities and behavior patterns, seeking the logic of thinking methods from the causes of psychological life formation, and inferring the behavior performance in emergencies. By reading a large number of Chinese and foreign documents and books, I have a lot of understanding about the application of psychology and the role of psychology in performance. This paper expounds the help of psychology to the psychological state of actors on the stage, and tries to solve how to adjust the psychological state of actors by using psychological methods commonly used in performance, such as logical reasoning, psychological analysis and psychological suggestion. This paper uses psychology to analyze the characterization. Combined with examples, it proves the role of learning psychology in shaping actors' roles. Taking my internship dramas and graduation dramas as examples, this paper discusses the important role of psychology in performance and the help of psychological learning to actors' performance according to Steiner system and psychology.
Keywords: psychology; Focus; psychological suggestion
When it comes to actors' performance psychology, we should first explore the roots of performance nature and the ability of artistic appreciation. The essence of performance comes from the initial exploration of their surroundings to test the limits of their physical and mental abilities. ? People initially challenge their abilities and enjoy the fun of the game through primary games, which is often with this mentality. Psychological pleasure is the basic desire of performance psychology. For example, playing house as a child, or playing teachers and students, imitates some behavior habits of adults, in which imitated games make human beings familiar with the surrounding environment and gradually gain the ability to control their own psychology. The reason why drama works are called drama is actually related to games, and it is not accidental, because the task of drama is to provide people with constant life experiences and constant experience rehearsals.
The application of psychology in performance lies in analyzing the characters' thoughts, personalities and behavior patterns, finding the logic of thinking methods from the causes of psychological life formation, and inferring the behavior performance in emergencies. For the creation and appreciation of drama, if there is no psychological analysis as the basis, it will lose the scale of measurement and interpretation. Psychology is a science of behavior and experience, drama is a reflection of life, and psychology and performance complement each other. When we first came into contact with the script, the actor's understanding of the script and the highest task of the role in the script became particularly important. Actors are required not only to have a good understanding of the script, but also to have a good psychological and logical reasoning ability. Through psychoanalysis and logical reasoning, we imagine information beyond the playwright. Whether it conforms to the reality of life or constitutes an artistic reality depends on whether the psychological activities of the characters are logical. As long as psychological activities are logical, all unreasonable behaviors and unexpected behaviors conform to the truth of life and also constitute the truth of art. Does the actor grasp the psychological activities of the characters? Logic? , form? Artistic authenticity? , realize? Dramatic.
These behaviors have psychological reasons, so it is necessary to introduce psychology into the performing arts. The actor's analysis of the role actually started from the first time he read the script. When an actor reads a script for the first time, he always has one impression or another in his mind. These emotional impressions are the beginning of the actor's understanding and analysis of the role. However, this analysis is irrational. But when reading the script for the first time, the actor's impression of the role is always the most vivid and vivid, and it will also have many real feelings and many associations for the actor's life. These feelings and associations may often become a very important opportunity and valuable wealth for actors to shape their roles in the future. Therefore, it undoubtedly plays a very important role in shaping the role of actors in the future.
Psychological suggestion in psychology can help an actor to successfully shape a role. There are many necessary factors, but it is certain that psychological preparation is the most important one. From a psychological point of view, it is better to imply that you are a role. Combined with my own experience, every time I go on stage, I always give psychological hints to these psychological thinking problems in turn. First, look at the character analysis I have done, think about the specified situation and the purpose of playing, and then spend most of my time giving psychological hints. I told myself that I was a character, and then I had the character, shape and language of the character. When I am ready for this, I always feel confident when I perform on the stage.
Freud, the founder of psychoanalysis, contributed to the performance and revealed the unconscious process of human beings. He pointed out that people's spiritual activities occur and go on at all levels of consciousness, including desire, impulse, thinking, fantasy, judgment and emotional decision. And the corresponding development stage can be found in the actor's experience of the role. Revealing these levels can make actors more conscious and self-controlled in their experience of the role. Every link of performance is accompanied by the infiltration of psychology, both of which are indispensable and complement each other. Stanislavski regards psychological technology as a driving force of performance creation, and the use of his image? Commander in chief? It is a metaphor for the promotion and influence of wisdom, will and emotion on performance creation. Wisdom, will and emotion all belong to the category of psychological research, and wisdom is the sum of thinking qualities in psychology. Steiner put them in such an important position and derived wisdom, will and emotion in the sense of performance, which shows that psychology and performance have great intersection. Then learning psychology is very helpful for actors to enhance their self-control, shape their roles and perform.
References:
[1] Shi Longqi. Performing arts of drama. Beijing: China Film Publishing House, 1999.
[2][ Su] к? С? Stanislavski. The accomplishment of an actor. 5438+0955.
[3] Li Jinyun. Performance psychology. Beijing: World Book Publishing Company, 2007.
Thesis II of Performance Psychology
On the Influence of Psychological Factors in Vocal Music Performance
Abstract: Psychological factors are the main reasons leading to the success or failure of vocal performance. Vocal singing is a kind of advanced psychological activity, the most active moment of spirit, accompanied by complex psychological activities all the time. Many vocal actors attach great importance to vocal skills and techniques in their usual vocal training, but they don't understand the influence of psychological factors on singing and pay no attention to the improvement of psychological quality. When people sing, they require the coordination of vocal, breathing, singing, articulation and other human organs, among which psychology and spirit have a great influence on this activity, which is the key to the success of singing. Therefore, this paper discusses the role of psychological factors in vocal performance from the following aspects.
Keywords: vocal performance; psychologic factor
First, the role of feeling and perception in vocal performance
Human feelings come from the understanding of the world, and all the substances in the world will stimulate human feelings. It is this kind of feeling that human beings know the substances in the world and their shapes, states and forms. This feeling ensures the survival and normal life of human beings. If we lack a correct understanding of the material in this world, or lack information, it will bring bad influence and survival threat to mankind itself. Perception is the overall reflection of the human brain on current objective things. Perception, like feeling, is produced by the direct effect of stimulation on sensory organs.
Feeling and perception are human psychological phenomena, in which many advanced and complicated psychological phenomena are produced. Without an understanding of the low-level stage of perception, human beings cannot realize advanced cognitive activities such as imagination and thinking. There will be no complicated emotional experience, and there will be no certain interest, need and motivation.
In our social life, we often hear all kinds of music. A lot of music stimulates us through our sensory organs and produces various emotions. Or happy, or heartbroken, or surge of emotion surge. Let us feel the unspeakable beauty of music. This feeling is the simplest musical psychological phenomenon. Only through this feeling can you distinguish and appreciate the nature of the music you hear, and can you distinguish the rhythm, timbre and pitch of the music. The more this feeling accumulates, the deeper and more comprehensive it is, and the more you can understand the music itself. Therefore, before singing a song, vocal singers must do a good job of writing desk and listen to it repeatedly to increase the sense of excitement and make themselves feel deeply, so as to find a better way to express their feelings.
Second, the role of consciousness in vocal performance
Psychology believes that consciousness is a psychological phenomenon that people can perceive themselves. The results of consciousness can be divided into two kinds, namely conscious and unconscious. Many times, the brains of vocal performers consciously and unconsciously control the singing activities. In terms of song processing, such as speed, intensity and volume, there are purposeful controls, but unconsciously, long-term practice has turned these into habits, so there is no need to control them. This leads to the problem that vocal performers should pay attention to the basic training of vocal music at ordinary times. Vocal actors will enter a state of unconsciousness in the process of continuous training, so there will be no singing obstacles that will affect singing.
Third, the role of imagination in vocal performance
Imagination is a special form of thinking. It can process the images stored in the brain into new images. Many times, we will find that when reading literary works, scenes and pictures will be produced in our minds. This is a scattered representation that we usually leave in our brains. Inspired by the words in the works, it will be processed into images, and there will be a feeling of movies in our brains. It is this kind of imagination that makes us produce musical images when we appreciate music. Because of the imagination in music activities, we can create music by understanding and transforming music. Is it the same for vocalists? Second creation? An essential process. Imagination allows vocal performers to design their stage images into the characters required by songs; You can use the spiritual temperament of the role to express the work. Let vocal performers quickly enter the role, experience the life feelings of the role, and finally bring the success of the performance. Of course, imagination also has its negative effects.
Vocal actors should attach importance to the role of imagination and make full use of imagination to perform better on the stage. For this reason, vocal music actors should let themselves experience social life more, be diligent, get in touch with nature, get in touch with people from all walks of life, read more literary works, and enjoy movies, TV dramas, operas, dances, paintings and other artistic works.
Fourth, the role of emotion and emotion in vocal performance
Emotion and emotion are people's subjective psychological activities, which are restricted by objective conditions, and changes in objective conditions often bring changes to people's emotions and emotions. It often happens that a person who has just been in high spirits will change his mood immediately after hearing the bad news about him (her). He (she) is completely different. This situation will also be encountered in vocal performance. For example, a vocal singer is preparing to sing on stage, and suddenly the lights on the stage go out, which suddenly affects the mood of the actor. After the stage lighting was restored, the vocal singers lost their old colors when they came on stage to sing. This is because objective conditions have affected the actor's mood and brought him psychological pressure.
Vocal performance is originally an expression of emotion, which can also be said that emotion is the soul of art. Without emotion, vocal performance cannot be performed. The emotion of vocal performers comes from the experience of social life. In social life, people are often influenced by different things and constantly have their own attitudes towards things. For example, when we listen to a healthy and uplifting song, we can make people feel positive. And when you hear a decadent song, you will feel disgusted. It also shows that people's value orientation objectively reflects different things, showing love and hate, sadness and joy. This is human emotion.
Emotion and emotion in vocal performance are different from those in life. Many emotions and emotions in life are brought by interests, and interests are most directly related to survival and security. Emotion and emotion in vocal performance are the core of art and the foundation of artistic vitality. The use of emotion and emotion in vocal performance is to express the connotation and soul of art, and to provide the audience with * * * knowledge and feelings, without any practical utilitarian purpose. Singers use emotions and emotions in their works to share their experience of objective things with the audience, so that the audience can share their joys and sorrows with him. Isn't that to make art more attractive and vocal music more expressive? Emotional person, emotional person? .
To sum up, the role of psychological factors in vocal performance aims to make vocal performers pay attention to the role of psychological factors, strengthen their study, improve their psychological quality and sing better.
References:
Zhang Kai. Music psychology [M]. Southwest Normal University Press, 20 10.
[2] Xu Houdao. Introduction to psychology [M]. Beijing University of Technology Press, 2004.
[3] Yu. Yu vocal art [M]. Beijing Huale Publishing House, 2004.
Performance Psychology Paper III
Application and Practice of Art Psychology in Vocal Music Performance
Abstract: Stage singing is a complicated psychological process. In the process of singing, psychological activities play an important role in the lyrics, melody, vocal skills, communication between stage performance and audience, and singing with sound and emotion. This paper mainly discusses the importance of artistic psychology in vocal performance, and the lack of psychological control ability in vocal performance at present, so as to put forward how to strengthen the cultivation of vocal performance psychology.
Keywords: art psychology; Vocal performance; regulate and control
Any activity of human beings is a kind of psychological activity, and singing is no exception, and it is always carried out under a certain psychological background. Different psychological states will have positive or negative effects on singing. Therefore, as a singer, good psychological control ability is very important, and psychological control in singing is a continuous, changing and dynamic process. Almost all vocal music learners will encounter psychological control when studying and performing.
1 the importance of art psychology in vocal performance
Vocal music is an important form of music art, its purpose is to move people, convey thoughts, feelings, emotions and describe scenes. Only when the singer correctly expresses the original intention of the song with emotion can he infect the audience. At the same time, we should be aware of another aspect of things, rely on the guidance of singing psychological thinking, cultivate keen perception, develop full imagination, and constantly make rational analysis, judgment and thinking expression of complex singing phenomena, which depends on the singer's own understanding and imagination. "Music imagination is a complicated psychological process, and people only have a superficial understanding of its essence. It is closely related to feeling, perception, image, association, thinking, emotion and conscious activities. " Hegel once pointed out: "Creation is artistic imagination, and the most outstanding artistic skill is imagination." Artistic imagination in singing is a special way of thinking, which gives people a sense of transcending reality and can enhance the emotional activities of singers. When singing a work, the singer should make himself enter the realm of imagination and turn emotions into images. Through the imagination of emotion and picture space, it is expressed by hearing, vision, touch, taste and other representations, just like what you have experienced in life, with the help of imagination when singing.
A good singing state includes the coordinated use of breathing and vocal cavity (chest cavity, pharynx cavity, oral cavity, nasal cavity and head cavity), and a good singing psychology of freedom, relaxation, freedom and self-confidence. In singing, they form a whole feeling, which is the basis of singing training. Facts have proved that the success of a singing performance depends not only on its own high artistic level and superb singing skills, but also on its good psychological quality. Both are indispensable. Singing skills can be mastered by experienced teachers through hard work, but this does not mean that they have all the singing abilities.
In the process of vocal music teaching, we often find that many students sing very well in class, but when they sing on stage or participate in competitions, their hearts are quickened, their bodies are stiff, their legs are trembling, their faces are pale, they are sweating, their breath is floating, their voices are hoarse, their rhythm is unstable, they forget their words and tune, and sometimes they even can't hear the accompaniment clearly, lose their self-control, and even lose their ability to adjust their singing organs. Therefore, singing plays a very important role in people's psychological state or quality, singing training and learning, the quality of teachers' teaching achievements and the performance of singers' level, which should be paid enough attention to.
2 lack of psychological control performance in vocal music performance
2. 1 Excessive tension during performance
Many singers, especially novices who don't have much stage experience, will feel obvious progress when standing on the stage, such as sweating hands and feet, uneven breathing, trembling legs and so on. To make matters worse, their brains will suddenly go blank, they will stand on the stage and don't know what they want to do, or they will suddenly forget the words when singing. The lack of psychological control has seriously affected normal singing, not to mention perfect and super-level singing.
2.2 treble phobia
The training and singing of tenor is a key and difficult point in vocal music teaching. Because many vocal music works need to express their feelings with louder and brighter voices. For a long time, because the audience's understanding of vocal music is limited, tenor singing is regarded as the only criterion to measure success or failure and singing ability. Even among vocal music learners, there is a tendency to think that good treble singing means strong singing ability, which is undoubtedly a one-sided view.
2.3 poor adaptability to the environment
The piano room is the place where every vocal music learner stays for the longest time, and the piano room has witnessed the whole learning process of a vocal music learner. However, many vocal music learners unconsciously form a kind of "piano room dependence", that is, singing in the piano room is often natural and calm, even beyond the level. Once you leave the piano room, you will find yourself in a new singing environment. Facing a strange environment, the effect of singing will be greatly reduced.
3. Strengthen the training strategy of vocal performance psychology.
First of all, people who learn to sing should learn psychological knowledge appropriately. Learn to control and use one's own psychological form through learning psychology, and guide one's control over skill performance. In teaching, teachers should teach students more ways to overcome nervousness, help them find out the reasons, remove obstacles and achieve success in vocal music learning. In addition, teaching should be carried out according to the temperament characteristics of students. According to the temperament characteristics of each student, teaching students in accordance with their aptitude. For example, for students who are impatient and eager for success, teachers can control their impatience and willfulness and cultivate their tenacity and tenacious ability; For timid, hesitant and unresponsive students, teachers should help them overcome loneliness, anxiety and inferiority, and cultivate their tenacious and confident spirit.
Secondly, help students to establish a correct attitude towards performance. First, we should have a clear understanding of our own level and not have unrealistic expectations; Second, we should let go of the burden, not only face ourselves rationally, but also dare to express ourselves, enter singing with full passion and concentration, and sing our true level. During the performance, the teacher should teach students how to concentrate and tell them that if they want to make a blockbuster at this time, it will inevitably affect the quality of the performance. In addition, in the usual training, teachers should consciously guide students to carry out systematic will exercise, especially to help timid and hesitant students overcome loneliness and anxiety, and cultivate their high sense of responsibility, honor and pride in singing. We should tell them to face up to their previous stage fright failures, sum up the causes of the failures seriously, find solutions, enhance their self-confidence and promote the healthy development of performance psychology.
Finally, strengthen basic skills training and improve singing skills. The key to nervousness and fear is self-confidence, which comes from one's own strength, that is, the level of singing. As the saying goes, "artists are bold." As an excellent singer, only by mastering all kinds of skills and techniques can we give full play in the performance. Successful performance comes from solid training and psychological quality training at ordinary times, and performers must have a correct psychological state. When a singer is training or singing, he is relaxed but not relaxed; Highly focused, but not nervous; Actively, enthusiastically and actively train and sing, but don't panic. Having a correct mental state is the premise and foundation of psychological quality training.
conclusion
In recent years, with the development of vocal pedagogy and psychology, more and more vocal workers have realized the importance of psychological regulation in vocal singing. Psychological adjustment seems to have a taste that can only be understood but not expressed. But when we put it into actual teaching and performance, we will find that psychological adjustment is real, completely regular and easy to grasp.
References:
[1] Su Minghai. Analysis and solution of stage fright in vocal performance [J]. Popular literature and art.2010 (11): 98-100.
[2] Curved waves. Singing should have a good psychological quality [J]. Anhui Literature (Ⅱ) .2008 (12): 76-77.
[3] Liu Fang. On the psychological adjustment of vocal performers [J]. Journal of Chifeng University (Philosophy and Social Sciences Edition) .2009 (09): 45-46.
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