The relationship between emotions and performance in competitive / test situations.

这项研究探讨了在引发“怯场”的情况下，成功和失败的影响因素。特别是在戏剧(研究1)和乐器(研究2)面前演奏时，哪种情绪会使表演成功的主观感受更高或更低。在研究1中，学生演员(n=21)在表演戏剧之前、期间和之后回答了SSI和多重心境量表(MMS)。他们报告了表演后的主观成就感。这个过程在六场演出中重复进行。结果是，积极的情绪和对他人的认识增加了成功的感觉，但认知焦虑降低了成功的感觉。此外，当认知焦虑和生理唤醒较高时，成功感会出现灾难性的下降。在研究2中，铜管乐队俱乐部的学生音乐家(n=41)在练习排练和三场音乐会之前、期间和之后回答了与研究1相同的问卷。他们还报告了比赛后的主观成就感。在实践中，积极情绪和躯体焦虑增加了成功的感觉，但在两场重要的音乐会上，积极情绪和躯体焦虑对成功没有影响--他人的感觉和意识使他们变得虚弱。综合前人和现在的研究结果，当认知焦虑较高时，表演者的表现比平时差，但当所需的运动行为是自动的时，认知焦虑和表演之间的关系减弱，就像本研究的音乐表演一样。有人建议，一个人对他人的认识与表演质量之间的关系将取决于一个人是否将观众视为评价者或评价者。

Present study explored antecedents of success and failure in situations eliciting 'stage fright'. In particularly, it was revealed that which emotion would make subjective feelings of performance's success higher or lower in playing a drama (study 1) and musical instruments (study 2) in front of audiences.In a preparatory research, State of 'Stage fright' Inventory (SSI) consisted of 12 items was developed. In study 1, student actors and actresses (n=21) answered SSI and Multiple Mood Scale (MMS) before, during, and after performing a theatrical play. They reported the subjective feelings of success after their performance. This procedure was repeated over six performances. As a result, positive mood and awareness of others increased the feelings of success, but cognitive anxiety decreased them. Moreover, the catastrophic decrease of the feelings of success was observed when cognitive anxiety and physiological arousal was high.In Study 2, student musicians in a brass band club (n=41) answered the same questionnaires as Study 1 before, during, and after practice rehearsal and three concerts. They also reported the subjective feelings of success after playing. In a practice, positive mood and somatic anxiety increased the feelings of success, but in two important concerts positive mood and somatic anxiety had no influence on the success-feelings the and awareness of others debilitated them.Taking together the results of previous and present studies, it was indicated that the performers did worse than usual when cognitive anxiety was high, but the relationship between cognitive anxiety and performance diminished when the required motor behavior was automatic, as in musical performance in present study. It was suggested that the relationship between one's awareness of others and quality of performance would depend upon whether or not one regarded audiences as appraisers or evaluators.