When I was four years old, I was old enough to sign up for dance classes.
I worked hard not only in the dance class; but I would take my hard work home with me.
As soon as I got home from dance, I would immediately start practicing what I previously learned earlier that day.
Like anything else, practice in performance allows you to learn what works and what doesn’t. If this makes you nervous, it may be useful to know that according to The Anxiety Treatment Center (Chicago area), involving the audience can actually lessen your anxiety or stage fright. How can you involve the audience or the other dancers on stage with you in your performance?
“Natural” performers, however, seem to know something that others do not. Actually, I’m not sure there is truly anything “secret” about these (I really couldn’t resist the alliteration), but perhaps these are tips and aspects of your dancing you haven’t put much thought into before. Make eye contact, direct your energy to one person within the audience or project your energy to the others around you, and use or respond to the energy of others give to you.
As the bright lights flash and the roars of the audience echo throughout the theater, I realize how far I’ve come to get here. This can be as simple as a first grader studying her spelling words and getting a one hundred on her spelling test, or an employee working day and night to finally reach the promotion she or he has been longing for. Ever since I was little, all I wanted to do was dance.
Even after I just learned to walk, I would dance around my house.Truly SEE, LOOK, and TAKE IN the world through your eyes as you dance. While a smile can be important during certain types of dances, it will not match the mood in all dances. This will improve any type of expression and, if fitting, make possible a smile that comes easily but is not plastered to your face.Everyone has a different way of thinking about the concept of musicality and there is great discussion on this topic HERE and elsewhere.Resisting “sameness,” as they dance, they incorporate crescendo and decrescendo (sudden or gradual changes in the quality of the movement) that often reflect or work within the accompanying music or score.Choreographers utilize music in different ways and a good performer will seek to understand what part of the music (rhythm, melody, counterpoint, etc.) the dance-maker is using to inspire their movement.Working hard may not seem fun while you are trying, but in the end it’s all worth it.Like when I practiced my dance at home, I practiced the dance basically everyday just so I could know it at the recital.It is the same expression most people use when making eye contact with or really listening to a friend, or when they are speaking excitedly in conversation.Audiences respond well to performers who utilize this technique.Although THINKING or FEELING this concept is at least half the battle, there are some things you can DO in this case.As you perform, engage the muscles in the face by slightly lifting the eyebrows – not to a comical extreme, but in a way that is comfortable and easy to maintain.