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

本研究探讨了在引发“舞台恐惧”的情境中成功和失败的前因。特别是在观众面前表演戏剧（研究1）和乐器（研究2）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，学生演员和女演员（n=21）回答SSI和多种情绪量表（MMS）之前，期间，和之后进行戏剧表演。他们在表演后报告了成功的主观感受。这个过程重复了六次。结果，积极的情绪和对他人的认识增加了成功的感觉，但认知焦虑降低了它们。此外，灾难性的下降的感觉，成功的认知焦虑和生理arousal.In研究2中，学生音乐家在铜管乐队俱乐部（n=41）回答了相同的调查问卷，研究1之前，期间，之后练习排练和三场音乐会。他们还报告了游戏后成功的主观感受。在一项实验中，积极情绪和躯体焦虑增加了成功感，但在两个重要的音乐会中，积极情绪和躯体焦虑对成功没有影响--感觉和对他人的意识削弱了他们。综合前人和现在的研究结果，当认知焦虑高时，表演者比平时做得更差，但当所需的运动行为是自动的时，认知焦虑和表现之间的关系减弱，如本研究中的音乐表演。有人认为，一个人对他人的认识与业绩质量之间的关系将取决于他是否将受众视为鉴定人或评价人。

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.