This September, I started an MSc in Performance Science at the RCM. I want to learn how to design and run research studies exploring Feldenkrais and performance.

A simulated stage

One of the fascinating resources there is a performance simulator, which I learnt to use last week. It can recreate different venues, complete with their acoustics and backstage noises. You can also have a virtual experience of an audience, with either a concert going public or an audition panel. They can be receptive, or hostile: someone glancing at their watch, or stopping you halfway through to ask for the next excerpt! Or even asking you what you thought of your performance as the last note fades. It brought back memories of my own first audition, where I didn’t get to play much of anything before being moved on. I found it difficult to re-find my stride. 
 

What changes for you?

Try imagining the moment the performance begins, walking onto a stage, or taking the breath before your share your music with someone else. Not the practice room, but the communication of performing. And whilst many of us have the experience to do this easily, many musicians have some level of performance nerves. So up the level of simulated challenge to something just above comfortable. Perhaps it’s a more challenging piece, or performing in front of someone whose opinion matters to you. What do you change?

There’s not a one-fits all pattern, but there are universal patterns at the heart of it. We all have our own fingerprint variation. When we add judgement into the equation, what changes? Perhaps something that felt easy in practice suddenly shifts state as you do?

Exploring nerves through Feldenkrais

Using Feldenkrais to explore nerves creates an opportunity to feel the physical sensation of our responses. We can become curious about how we do what we do. If we can work this out, we can start to learn which responses are helpful, and which get in the way of freedom of expression.