A Library Research in English

Entitled:
OVERCOMING AND UNDERSTANDING OF THE
EMOTIONAL NATURE

OF STAGE FRIGHT: A THREE FACTOR THEORY

Of
SSC 10

SY: 2018-2019
A. INTRODUCTION

I. PURPOSE

Some researchers and practitioners in speech communication are concerned with “communication

anxiety,” a general proneness to experience apprehension across communication situations. Others with a

similar interst focus on the public speaking situation. They study “speech anxiety,” a negative effect of a

speaker’s apprehension toward public speaking events. Finally, other scholars make a shift in perspective

and study “stage fright,” a particular instance of adverse emotional arousal may or may not result from

more general proneness. They have the advantage of studying stage fright without positing a personality

trait or a general proneness to experience apprehension across communication situations in general or

even across public speaking situations.

The present study follows this third line of research by furthering overcoming and understanding

of the emotional nature of stage fright. Its purpose is threefold: first, to demonstrate that the need to

understand stage fright as an emotional experience still exists; second, to describe a three factor emotion

theory that interrelates behavioural, physiological, and cognitive factors; third, to discuss the implications

of three factor theory for the study of stage fright and what are the some ways how to overcome the stage

fright.

II. TOPIC

Stage fright or performance anxiety is the anxiety, fear, or persistent phobia which may be aroused

in an individual by the requirement to perform in front of an audience, whether actually or potentially (for

example, when performing before a camera). Performing in front of an unknown audience can cause

significantly more anxiety then performing in front of familiar faces. In some cases, the person will suffer

no such fright from this, while they might suffer from not knowing who they're performing to. In the

context of public speaking, this may precede or accompany participation in any activity involving public
self-presentation. In some cases stage fright may be a part of a larger pattern of social phobia (social

anxiety disorder), but many people experience stage fright without any wider problems. Quite often, stage

fright arises in a mere anticipation of a performance, often a long time ahead. It has numerous

manifestations: stuttering, tachycardia, tremor in the hands and legs, sweaty hands, facial nerve tics, dry

mouth, and dizziness.

Stage fright can occur in people of all experiences and backgrounds, from those who are completely new

to being in front of an audience to those who have done so for years. It is commonly recognized in the

population. Stage fright may, for example, have a negative impact on the individual's performance, such

that it affects their confidence during job interviews. It also affects actors, comedians, musicians, and

politicians. Many people with no other problems in communication can experience stage fright, but some

people with chronic stage fright also have social anxiety or social phobia which are chronic feelings of

high anxiety in any social situation. Stage fright can also be seen in school situations, like stand up

projects and class speeches.

Some of the fearful students who remain on are required to take a public speaking course have bad

experiences. If they get into one speech class it is usually a very unpleasant, anxiety-producing experience

which accomplishes little at best and may make the situation worse. The many cures is further evidence

for the importance of stage fright. Among the more than 50 methods that have been developed to deal

with it outside the speech classroom are systematic desensitization, rational emotive therapy, cognitive

modification, flooding, modelling, relaxation, self-monitoring, and rehearsal.

While the need to understand stage frightis great, the problem is that the emotional nature of stage

fright is not understood. In 1955, Clevenger claimed that while stage fright is an emotion, "...considerable

doubt exists as to the exact nature of that emotion.” After reviewing the literature on stage fright,

Clevenger, and Phifer pointed out that speech teachers and textbook authors offer considerable advice on

the management of stage fright while demonstrating an insufficient' understanding, of it. They suggest that
this may be why many public speaking textbooks devote more space to remedies than causes of stage

fright.

By the mid-1950's it was felt that an understanding of stage fright may be possible if tied to a

psychological theory of' emotion: Subsequent attempts focused on three such theories, Lomas'

neurological theory, James-Lange's body -reaction theory, and Schachter's two factor theory. In the

remainder of this section, I will briefly describe each of these and show why each offered an inadequate

understanding of stage fright.

Lomas' Neurological Emotion Theory:

After defining' stage fright as an emotion, Clevenger relied on Lomas' neurological emotion theory

to explain stage fright. According to Lomas, the conscious experience of the emotions is explained

primarily as an upward discharge of thalamic impulses into the cerebral cortex. Lomas claimed that in the

well-organized adult cortical intellectual patterns normally dominate thalamic emotional patterns. In cases

of intense emotion, the thalamic impulses temporarily dominate the intellect al impulses-, producing

disorganized behaviour. Clevenger

concluded that when stage fright occurs, "the emotions intrude upon the domain of the intellect to the

detriment of the speech patterns and responses.

Lomas neurological emotion theory fails to adequately explain stage fright for two reasons. First,

presumably overpowered by the thalamic emotional impulses, the cortical intellect has no role. More

recent emotion theory and research show that the cortical intellectual operations (cognitive operations)

play an important guiding function in emotional experience. Second, Lomas' analysis assigns no

significance in emotional experience to the perception of environmental cues. More recent emotion theory

and research show that environmental conditions provide cues (cognitions) that play an important

interpretive function in emotional experience. For these two reasons, Lomas' theory is too limited. as an

emotion theory and provides an inadequate understanding of' stage fright.

 James-Lange's Body Reaction Theory of Emotion

In their survey of college 14 textbooks; Clevenger and Phifer included a brief history of previous

att:::pt. fA, relate stage fright to the James-Lange emotion theory. James and Lange H..Aj .1 that "body

changes directly follow the perception of the exciting fact, and their feeling of the same changes as they

occur is the emotion."

James and Li 4 argued that "we feel sorry because we cry, angry because we strike, afraid because we

tremble, and not that we cry, strike, or tremble, because we are sorry, angry or fearful." Therefore the

behaviour occurs first, followed by inference and labeling processes accompanied by feelings.

Since there are different emotions, presumably different body states are recognizable and produce

different experiences: Bodily changes were induced by a organized mechanism" and were seen as forming

an unlimited number of unique patterns. "The various permutations...make it abstractly possible that no

shade of emotion...should be without a bodily reverberation as unique...as is the mental mood itself."

James and Lange went on to state that one is fully aware of these' unique patterns. "Every one of the

bodily changes...is felt...the moment it occurs.” Recent research, however, has shown that different

emotions are physiologically similar. Therefore, since the James -Lange theory equates visceral activity

with diverse emotions, .it is an inadequate theory of stage fright.

Schachter's Two Factor Theory of Emotion

Freimuth offered an explanation of stage fright based on Schachter's emotion theory. According to

Schachter, an emotion consists of two components: (1) perceived arousal, which is the interoception of

one’s visceral activity or bodily changes; and (2) perception cognitions which are am exteroception of.

one's immediate environmental cues. Along with these two factors, Schachter incorporated the attribution

process. He argued that the emotional experience arrived at through causal attribution is the most crucial

mediator between perceived arousal and perception-cognitions. He went on to describe how this takes-
place. First, one's perceived arousal initiates a quest for a causal accounting. Second, this epistemic search

'for cues ultimately provides one with an explanation of his arousal and guides his response selection.

Schachter's theory is incomplete. Since his theory begins with perceived arousal, it fails to explain

why one is aroused in the first place. In addition, although he frequently uses behavior to infer emotional

states, Schachter's theory fails to include a behavioral component. Finally, his theory is limited to

situations in which there, is time after the appearance of an ambiguous arousal inducer for a cognitive

search for cues to take place. This limitation may not include the appearance of stage fright in public

speaking where the provoking stimulus is clear (i.e. the audience-speech situation) and the response is

immediate.

Sometimes, even weeks before a presentation, I would think, “What happens if people think I suck

or someone thinks I don’t know what I’m talking about?” As humans, we’re hardwired to worry about our

reputation above almost all things. There are primitive parts of your brain that control your reaction to

threats on your reputation, making these reactions extremely difficult to control. These reactions to threats

are precisely what Charles Darwin tested when he visited a snake exhibit at a zoo in London. Darwin tried

to remain perfectly calm while putting his face as close to the glass as possible in front of a puff ader

snake that was ready to strike. However, every time the snake would lunge toward him, he would grimace

and jump backward. Darwin wrote his findings in his diary. My will and reason were powerless against

the imagination of a danger which had never been experienced. He concluded that his response to fear was

an ancient reaction that has not been effected by nuances in modern civilization. This response is know as

the “fight or flight” syndrome, a natural process that is designed to protect your body from harm.

When someone starts to feel the sensation of being scared or nervous they start to experience

anxiety. According to a Harvard Mental Health Letter, "Anxiety usually has physical symptoms that may

include a racing heart, a dry mouth, a shaky voice, blushing, trembling, sweating, light the adedness,

and nausea". It triggers the body to activate its sympathetic nervous system. This process takes place when
the body releases adrenaline into the blood stream causing a chain of reactions to occur. This bodily

response is known as the "fight or flight" syndrome, a naturally occurring process in the body done to

protect itself from harm. "The neck muscles contract, bringing the head down and shoulders up, while the

back muscles draw the spine into a concave curve. This, in turn, pushes the pelvis forward and pulls

the genitals up, slumping the body into a classic fetal position."

In trying to resist this position, the body will begin to shake in places such as the legs and hands.

Several other things happen besides this. Muscles in the body contract, causing them to be tense and ready

to attack. Second, "blood vessels in the extremities constrict". This can leave a person with the feeling of

cold fingers, toes, nose, and ears. Constricted blood vessels also gives the body extra blood flow to the

vital organs.

In addition, those experiencing stage fright will have an increase in blood pressure, which supplies

the body with more nutrients and oxygen in response to the "fight or flight" instincts. This, in return,

causes the body to overheat and sweat. Breathing will increase so that the body can obtain the desired

amount of oxygen for the muscles and organs. Pupils will dilate giving someone the inability to view any

notes they have in close proximity; however, long range vision is improved making the speaker more

aware of their audience's facial expressions and nonverbal cues in response to the speaker's performance.

Lastly, the digestive system shuts down to prepare for producing energy for an immediate emergency

response. This can leave the body with the effects of dry mouth, nausea, or butterflies.

Even the most confident performers can suffer from stage fright. Stage fright is common for

everyone from Broadway actors to professional presenters. If you have stage fright, then you may start to

feel nervous, shaky, or even completely debilitated at the thought of performing in front of an audience.

But don't worry -- you can overcome your stage fright by training your body and mind to relax and trying

a few tricks. If you want to know how to overcome stage fright, just follow these steps. Before you read,

make sure that you know it helps if you have somebody perform with you. Or it also helps if you have a

lot of your close friends in the audience.

 TIPS ON HOW YOU CAN OVERCOME STAGE FRIGHT

General Strategies for Overcoming Stage Fright

1. Fake confidence. Even if your hands feel like silly putty and your heart is racing, just act like the

coolest person in the world. Walk with your head high and a big smile on your face, and don't tell anyone

how nervous you are. Maintain this posture when you get on the stage and you'll actually start to feel

confident.

 Look straight ahead instead of down at the floor.

 Don't slouch.

2. Create a ritual. Come up with a fail-proof ritual for the day of your performance. This could be a

three-mile (five kilometer) jog on the morning of your performance, the same "last meal" before your

performance, or even singing a certain song in the shower or putting on your lucky socks. Do whatever it

is you have to do to gear yourself toward success.

 A lucky charm is a great part of a ritual. It could be a piece of jewelry that's important to you, or a silly

stuffed animal that cheers you on from your dressing room.

3. Think positively. Focus on all of the amazing results of your presentation or performance instead

of everything that can go wrong. Combat every negative thought with five positive ones. Keep an index

card with motivational phrases in your pocket, or do whatever you need to do to focus on all of the

benefits that the performance will give you instead of honing in on all of the fear and anxiety that you may

be feeling.

4. Get advice from a pro performer. If you have a friend who is a knockout performer, whether it's

from stage acting or giving presentations, ask for their advice. You may learn some new tricks and will be
comforted by the fact that almost everyone gets stage fright, no matter how confident he or she may

appear on stage.

III. CONCLUSIONS

A three-factor emotion theory has been described along with its implications for research on stage

fright. The behaviour and presented at the response and response-energizing mechanism, respectively, in-

Hull's drive theory. The cognitive factor was identified ad-the modifying conscious experiential

component in Schachter's emotion theory. Research based on an understanding of interaction of the three

factors views stage fright from a more comprehensive .perspective. In addition, this understanding

suggests' that' stage fright be defied a state of communication apprehension which.is produced by the

speech audience situation and where the interaction of physiological, cognitive, and behavioural -factors

interferes with .communication.

An understanding of the emotional nature of stage fright derived' from three factor theory

emphasizes the need for speech scholars to include all three factors in their research design. Before a

researcher can claim that a speaker has experienced stage fright, one must-observe avoidance behaviour

and arousal (preferably ' through physiological. measures). Given avoidance behaviour and arousal,

presumably the intensity of the behaviour will depend on the amount of arousal. For example, holding the

cognitive factor constant, an increase in arousal through stimulating drugs, exercise, etc., should- enhance

the avoidance behaviour, if attributed to the speech-audience situation and attribute their behavioural and

arousal to it. While many studies concern the behavioural response and physiological arousal of the

frightened speaker, the cognitive factor as characterized in three factor theory has received little attention.
IV. RECOMMENDATION

The researcher recommend this library research for those people who have a stage fright. It will

boost the confidence of the people because some tips are here. They can follow it.

And for those people who want to improve my project please the researcher recommend that list

more tips how to overcome stage fright.