Stage fright is a universal human experience that occurs with varying intensity in everyone who stands before an audience. The anxiety generated in this situation stems from the re-emergence of certain key developmental experiences. The dynamics involved are related both to genital and to pre-genital conflicts. Shame arises from conflicts around exhibitionism, from concerns over genital inadequacy, and from the fear of loss of control. Guilt is produced from the aggression inherent in self-display and from the fear of the destruction of one's rivals, along with the dread of retaliation. A major portion of the stage fright reaction is the reactivation of the crisis of separation-individuation, which generates separation anxiety connected to the fear that asserting oneself as a separate individual will result in withdrawal of love and admiration by maternal figures, i.e. the audience. The various developmental experiences are differentially weighted in each individual's stage fright reaction depending on the vicissitudes of his early childhood experience. Perhaps it is fortunate that few performers ever completely master stage fright, for an intangible sense of communion between the performer and his audience might well be lost as a by-product of the mastery.
怯场是一种普遍存在的人类体验,每个站在观众面前的人都会有不同程度的怯场。在这种情况下产生的焦虑源于某些关键发展经历的再次出现。其中涉及的动态关系既与性器期冲突有关,也与前性器期冲突有关。羞耻感源于围绕暴露癖的冲突、对性器不足的担忧以及对失去控制的恐惧。内疚感则源于自我展示中固有的攻击性、对对手被毁灭的恐惧以及对报复的恐惧。怯场反应的一个主要部分是分离个体化危机的重新激活,这会产生分离焦虑,这种焦虑与一种恐惧有关,即担心作为一个独立个体表现自己会导致母亲般的人物(即观众)收回爱和赞赏。在每个人的怯场反应中,各种发展经历的权重各不相同,这取决于其童年早期经历的变迁。也许幸运的是,很少有表演者能完全克服怯场,因为表演者与观众之间无形的共鸣感很可能会作为克服怯场的副产品而丧失。