The phantoms of the opera—Stress offstage and stress onstage

Author:

Cui Anja-Xiaoxing1ORCID,Motamed Yeganeh Negin1,Sviatchenko Olga1,Leavitt Thea1,McKee Taylor1,Guthier Christina2,Hermiston Nancy1,Boyd Lara1

Affiliation:

1. University of British Columbia, Vancouver, BC, Canada

2. Johannes Gutenberg-University, Mainz, Germany

Abstract

During opera performance singers deliver vocally demanding roles, follow a conductor, portray emotions of a musical work, act, dance, and engage with costumes, sets and props before an audience. Hence, opera performance is a stressful experience. This study examined different types of stress experiences by measuring the trajectories of 10 opera trainees’ heart rate variability (HRV) during two performances, covering onstage and offstage periods. We explored connections between HRV, self-reported stress measures, and expert-rated difficulty of the performed roles. We discovered that opera trainees had lower HRV and thus experienced greater physiological stress, while onstage compared to offstage periods. In contrast, when asked about performance specific stress, opera trainees self-reported that they felt more nervous when they were offstage. This disconnect between physiological measurement and psychological self-assessment suggests that there are two relevant types of stress for opera performance: psychological stress, which is felt more keenly offstage, and physiological stress, which is greater onstage. Patterns of association between HRV and self-reported measures suggest that HRV is linked to general (not performance-specific) stress. Patterns between self-reported measures suggest that music performance anxiety relates to trait anxiety. Our results indicate specific targets for possible interventions for stress management in opera singers.

Funder

Peter Wall Institute for Advanced Studies

Social Sciences and Humanities Research Council of Canada

Publisher

SAGE Publications

Subject

Psychology (miscellaneous),Music

Reference4 articles.

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