The development of emotional self-regulation in trainee vocal teachers as a means of overcoming stage fright

Abstract

This study focuses on the theoretical substantiation of the role of emotional self-regulation in the professional training of future vocal instructors and examines methods for overcoming stage fright. A comprehensive set of theoretical research methods was employed, including the analysis of scholarly and methodological literature, synthesis, comparison of data, induction, and deduction. The study clarifies the essence of the following concepts: «regulation,» «self-regulation,» «emotional self-regulation,» «anxiety,» and «stage fright.» In the authors’ view, emotional self-regulation in future teachers is an integrative, professionally significant quality, manifested in the ability to consciously manage one’s own emotional experiences, control the level of stage anxiety, mobilise internal psychological resources and maintain an optimal emotional state for successful vocal performance and the artistic interpretation of a musical work. The role of emotional self-regulation in the professional training of future vocal teachers at higher education institutions specialising in the arts is theoretically substantiated. The existing methods for overcoming stage fright among future vocal artists are highlighted. These include: training sessions and self-coaching to prepare oneself for a successful performance before going on stage; repeated rehearsals of the stage entrance; running through the programme ‘in one’s head’ using one’s inner voice before the concert, preferably the day before; a thorough understanding of the programme and the key details of the concert performance and stage behaviour, as agreed with the vocal teacher; and post-concert support from the teacher, friends and peers. In the authors’ view, it is absolutely essential to focus on developing emotional self-regulation in trainee vocal teachers during the educational process in higher education institutions and beyond, as such specialists must not only be professionally trained in performance but also methodologically knowledgeable and resilient to stress in any circumstances, including public stage performances.