Editing Performance (section)

== Performance state ==
[[File:Deep Purple - MN Gredos - 01.jpg|thumb|300px|English rock band [[Deep Purple]] performing in [[Hoyos del Espino]], [[Spain]] (2013)]]
Williams and Krane define the ideal performance state as a mental state having the following characteristics:<ref>{{cite book|author1=Haff , G. Gregory|author2=Triplett , N. Travis|title=Essentials of Strength Training and Conditioning |url=https://books.google.com/books?id=bfuXCgAAQBAJ|edition=4th|year=2015|publisher=Human Kinetics|isbn=978-1-4925-0162-6|pages=156–57}}</ref>

* Absence of [[fear]]
* Not thinking about the performance
* Adaptive focus on the activity
* A sense of effortlessness and belief in confidence or [[self-efficacy]]
* A sense of personal control
* A distortion of time and space where time does not affect the activity

Other related factors are: motivation to achieve success or avoid failure, task relevant attention, positive self-talk, and cognitive regulation to achieve [[automaticity]]. Performance is also dependent on adaptation of eight areas: Handling crisis, managing stress, creative problem solving, knowing necessary functional tools and skills, agile management of complex processes, interpersonal adaptability, cultural adaptability, and physical fitness.<ref>{{cite book|author1=Frank J. Landy|author2=Jeffrey M. Conte|title=Work in the 21st Century: An Introduction to Industrial and Organizational Psychology|url=https://books.google.com/books?id=1K1rnp9uAscC&pg=PA193|year=2010|publisher=John Wiley & Sons|isbn=978-1-4051-9025-1|page=193}}</ref> Performance is not always a result of practice, but rather about honing in a skill. Over practicing itself can result in failure due to [[ego depletion]].<ref>{{Cite journal|doi=10.1016/j.jrp.2008.10.004|title=When practice doesn't make perfect: Effort expenditure as an active behavioral self-handicapping strategy|year=2009|last1=Smith|first1=Jessi L.|last2=Hardy|first2=Tiffany|last3=Arkin|first3=Robert|journal=Journal of Research in Personality|volume=43|pages=95–98}}</ref>

According to [[Andranik Tangian]], the best results are achieved when spontaneity and even improvisation are backed up by rational elements that arrange means of expression in a certain structure, supporting the communication (not just verbal) with the audience.<ref name="Tangian1997">{{Cite journal
|last=Tangian |first=Andranik |year=1997
|title= Performance interpretation by segmentation and its notation
|journal= Contemporary Theatre Review  |volume=6 |issue=4 |pages=79–97
|doi = 10.1080/10486809708568438 }}</ref><ref name="Tangian1999">{{Cite journal
|last=Tangian |first=Andranik |year=1999
|title= Towards a generative theory of interpretation for performance modeling
|journal= Musicae Scientiae |volume=3 |issue=2 |pages=237–267
|doi = 10.1177/102986499900300205|s2cid=145716284 }}</ref>

=== Stage fright ===
[[File:Kristin Chenoweth singing National Anthem at Yankee Stadium.jpg|120px|thumb|right|[[Kristin Chenoweth]] performs the national anthem of the United States at a [[baseball]] game.]]
Theatrical performances, especially when the audience is limited to only a few observers, can lead to significant increases in the performer's heart rate. This increase takes place in several stages relative to the performance itself, including anticipatory activation (one minute before the start of subject's speaking role), confrontation activation (during the subject's speaking role, at which point their heart rate peaks) and release period (one minute after the conclusion of the subject's speech).<ref>{{cite journal|last1=Baldwin|first1=Sandra|title=Effect of Speakers' Sex and Size of Audience on Heart-Rate Changes During Short Impromptu Speeches|journal=Psychological Reports|date=1980|volume=46|issue=1|pages=123–130|pmid=7367532|doi=10.2466/pr0.1980.46.1.123|s2cid=20025236}}</ref> The same physiological reactions can be experienced in other mediums such as instrumental performance. When experiments were conducted to determine whether there was a correlation between audience size and heart rate (an indicator of anxiety) of instrumental performers, the researcher's findings ran contrary to previous studies, showing a positive correlation rather than a negative one.<ref>{{cite journal|last1=Studer|first1=Regina|title=Psychophysiological Activation During Preparation, Performance, and Recovery in High- and Low-Anxious Music Students|journal=Applied Psychophysiology and Biofeedback|date=2014|volume=39|issue=1|pages=45–57|doi=10.1007/s10484-014-9240-2|pmid=24477850|s2cid=43418025|url=http://doc.rero.ch/record/325600/files/10484_2014_Article_9240.pdf}}</ref>

Heart rate shares a strong, positive correlation with the self reported [[anxiety]] of performers.<ref>{{cite journal|last1=Maclntyre|first1=Valerie|title=Heart Rate Variability as a Predictor of Speaking Anxiety|journal=Communication Research Reports|date=2010|volume=27|issue=4|pages=286–297|doi=10.1080/08824096.2010.496323|s2cid=55686972}}</ref> Other physiological responses to public performance include [[perspiration]], secretion of the [[adrenal glands]], and increased blood pressure.<ref>{{cite journal|last1=Brutten|first1=Eugene|title=A Palmer Sweat Investigation of the Effect of Audience Variation Upon Stage Fright.|journal=Speech Monographs|date=1963|volume=30|issue=2|pages=92–96|doi=10.1080/03637756309375363}}</ref>