PREPARTIONS

    The first challenge involves proper preparation of the competition choreography in the classroom by learning the shape, intent, musicality and dynamics of your piece. By making the commitment to a time a date to compete, you have already scored a big point whatever the outcome. Preparation for a performance includes emotional as well as physical preparation. Don't omit a proper warm up, a look at the stage or a walk-through rehearsal; check props and quick-change items, inspect your makeup, hairdo, costume and shoes. Keep an extra pair of shoes handy should your choice unexpectedly feel not quite right. "Visualization of the performance," adds Kupersmith, "is just as important––the result of the imagination and imagery incorporated during the rehearsal period along with the physical repetition. If there has been an error or accident in any part of a previous performance, it is important not to 'play' the error over in the mind but to reinforce the correction and visualize a perfect performance." Competing for a scholarship or an award in your own country can be trying, but competing with dancers from other countries especially requires that you not compare yourself to others. Use the services of the competition volunteers to help you with language difficulties and in filling out forms. You may observe that the training of the competitors has been different or may have been more thorough than yours. Don't make comparisons, but observe the preparation of others, and learn from the competition teachers. Talent always shows, no need to worry.

THE PERFORMANCE

Before going onstage, many performers make a silent or visual expression of hope that transfers the power from one's own control into other hands of another force to make one feel secure and protected. Some have rituals or amulets. "This is not a bad or useless habit," warns Kupersmith, "unless so much time is spent in this behavior, that it becomes obsessive and necessary preparations are avoided, the time misused, and the absence of personal responsibility insufficient. It should not be allowed to become an excuse for delaying the moment of truth." It is to be expected that physiological chances take place before one faces a crucial moment. "Butterflies" in the stomach, weakness, shakiness or even nausea––all physical signs of anxiety––, can occur when there is no turning back from the moment. But if there is insufficient concentration on the task at hand, the anxiety will continue. Some performers are so anxious to get on stage they can hardly wait. But for even the most experienced, there is sometimes a moment that takes sheer courage and all your wits to manage the unexpected.

EXPERIENCING THE RESULT

    When you reach the wings after a successful performance, you might find relief, a joyful response, or insights into your performing ability, or experience a number of feelings all at once. The result should be a sense of accomplishment and be pleasurable. But Kupersmith warns, "Something has gone awry when there is an absence of pleasure or the continual lessening of pleasure in the performance or afterwards. This includes occasional displeasure with oneself, or even a feeling of not yet being equal to the demands of a trial. But those feelings should not exclude the desire to perform again." Best not to be overly self-critical or too focused on the negative aspects of your performance. Seek constructive criticism instead. Dedication to becoming a dancer on any level means a life of willingness to be personally challenged. You have to be open to constant criticism and resist the natural urge to avoid being made to think or rethink the next step after the success or disappointment of a competition result. "What is needed here," explains Kupersmith, "is the affirmation of self-worth. Knowing that one has done one's best every time and that doing one's best every time will create a solid support system to dwindling confidence. If self-esteem is damaged beyond repair of a teacher, parent, friend or peer, it's time to take a deeper look at your goals and earlier conclusions about your work." Nothing has been lost in time or experience. You have faced a win-win situation. •

by Marian Horosko and Judith R.F. Kupersmith, M.D.