2014職稱(chēng)英語(yǔ)綜合類(lèi)新增文章：閱讀判斷第十一篇

　　第十一篇 StageFright1

　　Fall down as you come onstage. That’s an oddtrick. Not recommended. But it saved the pianist Vladimir Feltsman when he wasa teenager back in Moscow. The veteran cellist Mstislav Rostropovich trippedhim purposely to cure him of pre-performance panic,2 Mr. Feltsmansaid, “ All my fright was gone. I already fell. What else could happen?”

　　Today, music schools are addressing the problem ofanxiety in classes that deal with performance techniques and careerpreparation. There are a variety of strategies that musicians can learn tofight stage fright and its symptoms: icy fingers, shaky limbs, racing heart,blank mind.3

　　Teachers and psychologists offer wide-rangingadvice, from basics like learning pieces inside out,4 to mentaldiscipline, such as visualizing a performance and taking steps to relax. Don’tdeny that you’re jittery，they urge; some excitement is natural, even necessary for dynamicplaying. And play in public often, simply for the experience.

　　Psychotherapist Diane Nichols suggests somestrategies for the moments before performance, “Take two deep abdominalbreaths, open up your shoulders, then smile,’’ she says. “And not one of these‘please don’t kill me’ smiles. Then choose three friendly faces in theaudience, people you would communicate with and make music to, and make eyecontact with them.”She doesn’t want performers to think of the audience as ajudge.

　　Extreme demands by mentors or parents are often atthe root of stage fright，says Dorothy Delay, a well-known violin teacher. She tells otherteachers to demand only what their students are able to achieve.

　　When Lynn Harrell was 20，he became the principal cellist ofthe Cleverland Orchestra, and he suffered extreme stage fright. “There weretimes when I got so nervous I was sure the audience could see my chestresponding to the throbbing. It was just total panic. I came to a point where Ithought,‘ If I have to go through this to play music, I think I’m going to lookfor another job.”5 Recovery, he said, involved developinghumility-recognizing that whatever his talent, he was fallible，and that an imperfect concert wasnot a disaster.6

　　It is not only young artists who suffer, ofcourse. The legendary pianist Vladimir Horowitz’s nerves were famous. The greattenor Franco Corelli is another example. “They had to push him on stage,”SopranoRenata Scotto recalled.

　　Actually，success can make things worse. “In the beginning of your career,when you’re scared to death, nobody knows who you are, and they don’t have anyexpectations,”Soprano June Anderson said. “There’s less to lose. Later on, whenyou’re known, people are coming to see you, and they have certain expectations.You have a lot to lose.”

　　Anderson added，“I never stop being nervous until I’ve sung my last note.”

　　詞匯：

　　veteran/ ˈvetərən / adj.經(jīng)驗(yàn)豐富的

　　jittery/ ˈdʒɪtəri / adj.緊張不安的

　　mentor/ ˈmenˌtɔ: / n.指導(dǎo)者

　　soprano/ səˈprpr?:nəʊ / n.女高音;女高音歌手

　　cellist/ˈtʃelɪst / n.大提琴演奏家

　　abdominal/ æbˈdɔmənəl / adj.腹部的

　　fallible/ ˈfæləbəl / adj.易犯錯(cuò)誤的

　　tenor/'tenə/ n.男高音

　　注釋?zhuān)?/STRONG>