Stage Fright from Kató Havas’ Perspective: An Assessment on Violinists
Yusuf DursunThis research presents Kató Havas’ views on stage fright among violinists in particular, with the belief that a performer whose mission in life is to overcome stage fright must be able to feel the full power of music, and contributes to musicians in this regard. In addition to other research conducted in this field, examining studies based on the perspective of the artist and the experiences of an artist in relation to stage fright is considered important. In this context, the main purpose of the research is to discuss stage fright from the perspective of Kató Havas with a specific focus on violinists. This research uses document analysis as a method. According to the research findings, most research on stage fright has noteworthily focused on its psychological aspects (e.g., cognitive, behavioral, and emotional). Havas, however, emphasizes the importance of “physical confidence” as a key factor related to stage fright, in addition to other factors. She believes the development of this physical confidence to be closely tied to violin education. Havas’ work and views on this subject are considered important and adaptable conclusions.
Kató Havas Perspektifinden Sahne Korkusu: Kemancılar Üzerinden Bir Değerlendirme
Yusuf DursunBu araştırma; bir icracının, müziğin tüm gücünü hissedebilmesi gerektiği düşüncesini benimseyen; bu düşünceyle tüm müzisyenlere özellikle de kemancılara katkı sağlayacak çalışmalar yapmış ve hayattaki misyonu sahne korkusunu yenmek olan Kato Havas’ın sahne korkusu üzerine görüşlerinin kemancılar özelinde değerlendirmesini sunar. Sahne korkusunu sanatçının perspektifinden inceleyen ve bir sanatçının deneyimlerine dayanan çalışmaların, bu alanda yapılmış diğer araştırmalarla incelenmesinin önemli olduğu düşünülmektedir. Bu doğrultuda; araştırmanın temel amacı, sahne korkusunu Kato Havas’ın perspektifinden inceleyerek kemancılar özelinde tartışmaktır. Araştırmada, nitel araştırma yöntemlerinden doküman analizi yöntemi kullanılmıştır. Araştırmadan elde edilen bulgulara göre, sahne korkusu konusunda yapılan araştırmaların çoğunluğunun; bilişsel, davranışsal ve duygusal gibi sahne korkusunun psikolojik yönlerine odaklandıkları dikkat çekmektedir. Havas’ın ise sahne korkusunun diğer etkenleri dışında odaklandığı ve önemli gördüğü noktalardan biri “fiziksel güven duygusu” ön plana çıkmaktadır. Bu fiziksel güven duygusunun oluşmasında en önemli gördüğü aşamanın da keman eğitimiyle geldiğini belirten Havas’ın bu konudaki çalışmaları ve bu konudaki görüşleri sonuç olarak önemli ve geliştirilebilir olarak görülmektedir.
The stage is where musicians showcase the results of their hours, days, weeks, or even months of arduous and demanding effort. In this context, one of the most negative emotions musicians face after overcoming the challenges of rigorous practice is stage fright. To help musicians cope with stage fright and minimize its impact on their performances, various solutions have been developed, with research also having been and continuing to be conducted on this subject (Montealegre García, 2023; Gök Akkılıç, 2020; Kıraç Sabzehzar, 2020; Bağdağ & Bolat Başoğlu, 2018; Sarıkaya, 2018; Sağlam & Girgin, 2019; McGrath et al., 2017; Özgür, 2017; Kabakçı, 2016; Nagy, 2014; Topoğlu, 2013; Studer et al., 2011; Çimen, 2001; Kee, 1993; Havas, 1973).
One such research effort is attributed to Kató Havas, whose life mission was to conquer stage fright. She believed that musicians should unlock the full power of music by releasing tension from their minds and bodies, allowing this power to be fully conveyed to the audience (Times, 2019; Khana, 2023). When considering Havas’ unique perspective toward stage fright, importance is had in examining her insights from an artist’s point of view and integrating them into existing research on this subject. This study aims to explore stage fright from the perspective of the artist and with a particular focus on violinists by considering Kató Havas’ viewpoint. The study seeks to answer questions such as how stage fright is understood from Kató Havas’ perspective and what solutions she has suggested. The research employs the document analysis method, which is defined by Sak et al. (2021) as the collection, review, and analysis of various documents as the primary source of research data.
While this study primarily addresses factors that can induce stage fright during performances, it also draws connections to research on minimizing the anxieties a musician may experience leading up to a performance. Topoğlu (2013) defined stage fright as a concept encompassing anxiety, fear, and worry and often involving a multitude of simultaneously experienced emotions. Within the scope of this research, stage fright is defined as the intense anxiety, apprehension, tension, and stress musicians experience due to various reasons when they are required to perform or as they are performing.
Havas (1973) regarded stage fright as one of the most destructive elements in performing arts, including acting, dancing, singing, public speaking, or playing a musical instrument. Within the specific context of violinists, she identified a primary reason for these fears as the inability of many violinists to establish tolerable, let alone active, physical self-confidence during performances. She emphasized the development of this physical self-confidence to primarily occur through violin education. Reviewing research on stage fright reveals a predominant focus on its psychological causes. Havas’ unique perspective on stage fright and her particular emphasis on the importance of physical self-confidence distinguish her and her research from others.
As a result, while analyzing Havas’ views on this subject, connections were made with similar studies and the results were evaluated comparatively. As a result of these evaluations, the majority of studies on stage fright were noted to have focused on the psychological aspects of stage fright in terms of cognitive, behavioral, and emotional aspects. Sense of physical confidence, which is one of the points Havas focused on and considered important in this regard, comes to the fore. In this context, she focused on a sense of physical confidence in order to prevent stage fright, tried to produce solutions for musicians in general and violinists in particular, and emphasized a sense of physical confidence to come about through violin training. This view of Havas has also been supported by other studies. In this regard, educators are thought to have a great duty toward preventing stage fright in Havas’ opinion. In line with this, the more educators develop their students to be technically competent and equipped, the more this will prevent future physical problems, especially stage fright. Havas’ views on stage fright were not limited to physical confidence: Educators should also support students throughout their education, not only with technical and repertoire studies but also with performance-oriented studies. In conclusion, Havas’ studies on stage fright and her views on this subject are considered important and can be improved. Within the scope of this study’s results, the suggestion can be made that further research should be conducted that analyze her technical studies on the violin in detail.
