Walker Imogen J, Nordin-Bates Sanna M
Trinity Laban Conservatorie of Music and Dance, London SE8 3DZ, UK.
J Dance Med Sci. 2010;14(4):133-45.
Performance anxiety research abounds in sport psychology, yet has been relatively sparse in dance. The present study explores ballet dancers' experiences of performance anxiety in relation to: 1. symptom type, intensity, and directional interpretation; 2. experience level (including company rank); and 3. self-confidence and psychological skills. Fifteen elite ballet dancers representing all ranks in one company were interviewed, and qualitative content analysis was conducted. Results revealed that cognitive anxiety was more dominant than somatic anxiety, and was unanimously interpreted as debilitative to performance. Somatic anxiety was more likely to be interpreted as facilitative, with the majority of dancers recognizing that a certain amount of anxiety could be beneficial to performance. Principal dancers suffered from higher intensities of performance anxiety than corps de ballet members. Feeling out of control emerged as a major theme in both the experience of anxiety and its interpretation. As a result, prevention or handling of anxiety symptoms may be accomplished by helping dancers to feel in control. Dancers may benefit from education about anxiety symptoms and their interpretation, in addition to psychological skills training incorporating cognitive restructuring strategies and problem-focussed coping to help increase their feelings of being in control.
运动心理学领域对表现焦虑的研究颇多，但在舞蹈领域相对较少。本研究探讨了芭蕾舞演员在表现焦虑方面的经历，涉及以下几个方面：1. 症状类型、强度及方向性解读；2. 经验水平（包括舞团等级）；3. 自信心和心理技能。对一家舞团中代表各个等级的15名精英芭蕾舞演员进行了访谈，并进行了定性内容分析。结果显示，认知焦虑比躯体焦虑更为突出，且一致被认为对表现有削弱作用。躯体焦虑更有可能被认为有促进作用，大多数舞者认识到一定程度的焦虑对表现有益。主要演员比群舞演员承受着更高强度的表现焦虑。感觉失去控制成为焦虑体验及其解读中的一个主要主题。因此，预防或处理焦虑症状可以通过帮助舞者感到能够掌控局面来实现。除了结合认知重构策略和以问题为导向的应对方式的心理技能训练以帮助增强他们的掌控感之外，舞者可能会从关于焦虑症状及其解读的教育中受益。
