Bad life of the the young girl

Almost all artists, sooner or later, in his vocation he found the feeling of a complete courage. Sharp, solid and loose, you realize that you are moving very well. A feeling of power, as a rule, causes incredible execution.

Safety itself could be the most significant element for fruitful performance. It allows you to expand yourself, face challenges and get inside yourself. It tends to be the contrast between large and ineffective. A distinctive feature of all extraordinary artists is that they do not believe they will move well, they know. However, for the vast majority certainty is extremely delicate; It is lost effortlessly and is colossally difficult to redo.

However, courage is a frequently used term, not many people really understand what it is. Self -safety reflects how you feel with yourself and your abilities. Decide how much effort exhausts, its objectives and its assumptions for progress. Since people rarely exceed their assumptions, the degree of courage of artists can decide how well they work.

Artists must constantly evaluate their certainty level and be delicate with changes. Teachers and choreographers must also be aware of this. A certainty deficiency, as a rule, observes a moment of surprisingly unfortunate move and brings about misery, the damn and is reflected in extreme self -analysis, for example, "I will probably fall" or "I cannot move." These negative evaluations are both intellectual and genuinely problems, damaging certainty and causing pressure that restricts innate capacity. An endless loop of low security in which there is a mediocre that shows an endless minor certainty in a descending torsion.

There is a successful method to build and keep up to date with self -confidence. Great preparation, the mastery of the method and the general sensation of capacity that the results will expand their certainty. The mastery of the strategy can be persisted in the creativity of the stage.

The educator's work to help artists create and maintain a high degree of certainty is fundamental. In the light of the information and authority of the educator, the artists look for them for a congratulation gesture. Therefore, educators should specifically consider the nature of their collaborations with their artists.

The form of the "expressive dance teacher" of showing dance is a relic of the past days. The instructors who censor and humiliate their artists will rarely work on their presentation. The instructors must be delicate with the individual mental needs of their artists in a similar way to their real requirements, and should use criticisms that fit those needs. For example, some artists respond feedback and respond negatively to the relentless analysis. Others may require tension to wake them up. In general, however, instructors should really give information that is objective, explicit and positive.

The most popular, but more judged method, artists could use to develop their courage even more is positive reasoning. I have been dominated by the number of artists who are the cause of all their own problems. Their way of behaving and mentalities make sense and are self -sufficient. Positive reasoning is made up of continuously evaluating actively and equitably, never suspect or offer derogatory comments about you.