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

本研究探讨了在引起“怯场”的情况下成功和失败的前因。特别是，在观众面前演奏戏剧（研究1）和乐器（研究2）时，哪种情绪会使表演成功的主观感觉更高或更低。在前期研究中，编制了由12个项目组成的“怯场状态”量表（SSI）。在研究1中，学生男女演员（n=21）在表演戏剧之前、期间和之后分别回答了SSI和多重情绪量表（MMS）。他们在表演结束后报告了主观的成功感觉。这一过程在六场演出中重复进行。因此，积极的情绪和对他人的意识会增加成功的感觉，但认知焦虑会降低这种感觉。此外，当认知焦虑和生理觉醒高时，成功的感觉会急剧下降。在研究2中，一个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。他们还报告了玩完游戏后的主观成就感。在一项实践中，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中，积极情绪和躯体焦虑对成功的感觉没有影响，其他人的感觉和意识削弱了他们。综合以往和目前的研究结果表明，当认知焦虑程度高时，表演者的表现比平时差，但当所需的运动行为是自动的时，认知焦虑与表演之间的关系减弱，如本研究中的音乐表演。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把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.