У статті розглядаються психологічні аспекти діяльності сценічної діяльності музикантів-інструменталістів. Доведено, що особливо вразливими до проявів обдарованих музикантів-інструменталістів є публічні виступи. Вони часто призводять до особливо хворобливого стану, який визначається як значне збудження (подібне до досвіду особи в інших стресових умовах). Звичайно, виконання кожного сцену супроводжується хвилюванням. Він проявляється у таких формах, як: збудження; хвилювання на зображенні; азартна паніка; хвилювання-апатія. Тут йдеться про залежність ефективності виступів від домінування певного виду стадії хвилювання. Автор довів необхідність уникнути ажіотажної паніки та апатії.
The psychological aspects of the process stage activity of musicians-instrumentalists are considered in the article. It’s proven that particularly vulnerable to manifestations of gifted musicians-instrumentalists are public performances. They often lead to particular painful condition that is defined as significant excitement (similar to the experiences of the individual in other stressful conditions). Of course, each stage performance is accompanied by excitement. It manifests itself in such forms as: excitement-lifting; excitement in the image; excitement-panic; excitement-apathy. The dependence of the efficiency of performances on the dominance of a certain kind of stage excitement is argued there. The author proved the necessity of the need to avoid excitement-panic and excitement-apathy.
The article delineated psychological stress into two types: informational stress and emotional stress. Informational stress occurs not just after the intellectual overload of the consciousness musicians-instrumentalists. It is created, provided that: low quality of mastering of knowledge, abilities or skills; unrealistic interpretation of complex interpretive or technical tasks; feeling of a time limit when making important creative decisions; high degree of responsibility for the results of stage activity. Emotional stress in the process of stage activity of musicians-instrumentalists is characterized by the intensity and duration of action. The minimum influence of emotiogenic conditions and a gradual increase in their intensity have the positive effect on the results of performances, but their excessive intensity and long-term effect lead to the disruption of the reproduction of even efficiently mastered information. Successful performances in excessive emotiogenic conditions occur due to the mobilization of both surface and deep adaptive reserves of an organism of musicians-instrumentalists. Prolonged exposure of excessive emotiogenic conditions can be distinguished into three phases. The first phase is characterized by feelings of anxiety, when mobilizing adaptive capacity of the organism for resistance to current stressors. The second phase is characterized by resistance, when the reserves of body is balanced using to resist the current stressors. In the third stage maintained the normal operation under the condition of not achieving the superiority of the body over the emotiogenic conditions.
