Dear Sanna - some answers

It's true. Nerves can be good. I remember at the beginning of the year, I did not feel nervous for the first few performances. Maybe the atmosphere did not feel professional to me, or maybe I was just not being challenged with my roles, but I felt nothing. No nerves, no excitement, and it was difficult to perform this way. Nerves get my adrenaline going and I have energy to perform. Without it, dance just feels like a job, which it has never been for me. That's why I like my job, because it's fun and it DOESN'T feel like just a job. Even in rehearsals or class if I am nervous, it's not always a terrible feeling. A little drama makes life interesting!

okay now for 20 responses - I could adjust my rhythm but...

1. Nobody else adjusts for me
2. I am doing the correct counts
3. It's harder to change than to stay the same
4. My partner will also have to adjust with me
5. I might not dance as well if I am distracted by new counts
6. I don't want to!

okay is this an exercise to prove that there aren't that many good reasons why I should not adjust? Because I can't think of more than 6 reasons aside from the 3 examples you gave.


Today we had a performance and I was so annoyed. First, before the show a friend of mine couldn't find her costume. She kept saying somebody must have taken it, when I'm sure it just got left behind somehow at the studio. These things happen, and yes, it's annoying, but it's more annoying when you don't stop complaining about it. There are plenty of extra costumes, but she was fussing so much I finally just told her to take mine and I would take one of the spares. In the end she took the spare and I stuck with my costume, but there was a lot of unneeded stress in the room.

Then during first act my mood worsened. It went okay, but it's one of those really cheesy story ballets where the corps do a LOT of acting and not so much dancing, which isn't really my thing. I feel stupid and awkward walking around trying to act. On top of that, I got punched in the face, I'm assuming by one of the new guys who doesn't really know what he's doing, but it just really hurt and I still had to walk around the stage acting and smiling like an idiot. Then after, I couldn't find my costume, and it's not that big of a deal for me to just take one of the spares, even if it is a tutu (therefore more fitted than the first act costumes), but I wasted a lot of precious intermission time searching for the stupid thing. Then I went upstairs and my costume was in my dressing room. I suppose it was a nice thought that somebody got it for me, but since I didn't know it just caused trouble.

Grrr! It was so hard to not think about the fact that my nose felt like it was smashed into my face and my costume frustration for the rest of the show, but somehow I forced myself to change my mood and the rest of the show was even kind of fun. Now for some rest...

Janie

DanceMind: Dear Janie, Experience

You are right about the experience piece. That experience tells us to -

1. expect change
2. surrender to it
3. to flow
4. to strengthen
5. expect change

... and of course, perform.

Sanna Carapellotti, MS CHT
mentalperformances.com

PS - I was interviewed ast week for a piece on 'rejection' for Dancer Magazine. I will let you know when it is published.

DanceMind: Dear Janie, All in a day ...

The question becomes this -- How do you increase 'movement' to do what is asked of you with all the mental "yes buts."  

Consider the mind set surrounding 'yes, but.'

Let's do this ... Answer this question with at least 20 responses - Ask yourself. Allow the answer to pop into your mind and ask again, very quickly.

I could adjust my rhythm but ..... There is no time.

I could adjust my rhythm but ... the performance is tomorrow.

I could adjust my rhythm but  ..... I learned it this way.

Got it?

Sanna Carapellotti, MS CHT

mentalperformances.com

Dear Sanna - moments of truth

Unfortunately I think the main way to be more prepared for these kinds of things is experience, perhaps together with an open mind. It's amazing how much easier it is when I just open my mind to things I know I have to do anyway. Of course sometimes it's important to stand up to things I really disagree with, but if I know I will eventually do it anyway, it's much better if I at least pretend that I want to.

That must have been so difficult and scary to first prepare a speech about something that bothers you so much, and then have to change it at the last minute. It's easier now to think about how to handle these moments, like my pre-show stress. Maybe it's a huge deal to me, but maybe to everyone else it just sounds like a normal correction or a way to make me dance my best. It's not the end of the world, and I need to realize that when I try to apply the corrections. It's not life or death, and if I just try it can only help me.

Hey I did 5 pirouettes today! More than once, too. I was just practicing in the back of a slightly boring rehearsal when a company member gave me a little correction, and there you go - 5 turns. It was so much fun and I kept doing it too. We'll see if it still works tomorrow ;)

Janie

DanceMind: Dear Janie, All in a day ...

Experience teaches us the importance of being authentic as to who we are and knowing our subject matter, in your case - ballet.  

About 20 years ago when I first started speaking as a part of my work, I was invited to speak to a Mother Daughter's Brunch on Mother's Day. At first I freaked out and declined. (at the time too much trauma for me due to my mother's sudden death when I was a young teen) After much thought, I realized that this could be a part of my healing. I accepted the challenge.

I was told that the daughters would be teens and the Mom's  in their 40's and 50's. SO I prepared a 30 min talk about separation, growing pains, trust and memories and weaved together a nice discussion and a few exercises.

Preparing for the event was nerve wracking. I admit to being so afraid I would cry HUGE tears. Mother's Day was not my favorite day.

Mother's Day arrives and I show up all prepared. I walked in to the church basement and stopped dead i my tracks. I was speechless.  

The daughters were in their 40's and 50's and 60's and the Mom's in their 70's, 80's and 90's!

I was so programmed and glued to MY speech out of my own great fear, that I have to say it was probably one of the most difficult moments of my life. I had to ad lib the whole thing and it was not my best, I stuttered and stammered, yet I got thru it. I was so uncomfortable.

What I know now is that I prepare not only with words and WHAT my expert subject is, but also to for the audience, it is not about me. 

I could have told a moving story about my mother loss and tied it into how grateful they can be about having time together ... But I stood steadfast in my own drama of the moment.

My self-importance and inexperience got me in big trouble. My talk was for them - to move them, not about me ("OMG! I was given the wrong information, What can I do? I have nothing to say!) I could have made a joke and been more 'flexible.'

Being in dance (as in most positions) requires you to be in the moment and to shift away from what was and to what is called for now.  Controllables.  You know that things happen - injuries, life events, changes, etc ...

Many of us can say quite nicely what the controllables are and yet not want them to be so in the real world. 

All you can do, Janie, is the best you can do at any given moment.  The directors and instructors make decisions based on what they believe to be needed, not what you could be prepared for. 

Do you understand that? 

Being told the day before about being off time could have been a forgotten thought of yesterday.  They have so much on their minds.  I can venture with certainty  that thoughts race, especially before a performance.  When you discover that the performance is much bigger than you, that you are a part of a larger picture than you can truly be prepared to do the best you can.

Resistance of mind creates tension in the body.  That part of it is self imposed. It places you in a  position of being 'against' the company. Is that  who you are? (i do not think so)

Here is the good thing, Janie -- You have been there almost a year. You have realized some communication patterns in how they relate. Some good and some not so good.

Be ready. Just because someone says something to you does not make it true. This can be about your habits, weight, work ethic .........

How can you prepare yourself? How can you become more flexible in mind to become more adaptable in body?

Here is the question -- How does it serve you (to be resistive?)  

What if you could be more fluid, more adaptable, more open to change?  When things do change (and they do) you will be open to learning faster, being more present and even more 'presentable.' You just do it.

I know I rambled... however, I will read it over to make clarifications.

Controllables ...  YOU!

Sanna Carapellotti, MS CHT

Performance Specialist

DanceMind: Dear Janie, It's all the same to you!

Your posts are very revealing once again about the challenges within dance companies, especially in the area of communication. Communication is often uncensored and emotionally driven. Often based on appearances. (you are studying and director views it as if you are not 'concerned about your piece.')

It is difficult to not take things personally, or to not feel badly. You have been working hard, are dancing with partners you are not familiar with and have been mentally rehearsing. How could he tell that?????

Some aspects of preparation are unseen and unnoticed. Placing your attention on other matters can actually strengthen your performance. It is virtually impossible to sustain ALL your attention on choreography ALL the time. Diverting attention to LEFT brain activites is actually a good thing. Also flipping through a magazine is a powerful relief too. Or listening to one of the audio programs you have of mine.

Sanna.

Back in the morning.

Dear Sanna - it was okay

So I worried and worried about the performance following my last post. I talked with a friend about it, who helped a little, saying I really look good in the piece and reminding me how the director gets crazy and says things in a really rude way. I felt a little better, but still nervous since I would maybe have one mark-through before the performance to fix it.

The next day I tried to approach the show with a good attitude, since I knew being negative would not help matters. But it's hard to be positive when you are so stressed out! After class I sat stretching and studying (did I mention I am trying to learn the language?) with some friends while they worked on a ballet I am not involved in on stage. The director walked in and made an annoying comment about how "orthodox I am with my studying," but what I should be thinking about is the performance because it was "not bad yesterday, it was terrible." Great way to boost my confidence before a show. And as if I had not spent the entire evening and morning going over the piece in my head. As if I didn't care how I danced. As if the rest of the corps and the music and my partners were not important in my dancing with the group and it would be perfect if only I would stop studying and think only about the dance. Very annoying.

During the mark-through on stage, I did as much as I could full-out, without making my overworked partners do too too much. I felt bad, since most of them are principles with a lot to do, only dancing with me because my partner is away. But I tried very hard to do what I think the director wanted (not that I'm ever told exactly what is so terrible about my dancing).

But the show went okay, I thought. And the next day we actually got notes all together as a company after class (which is another rare occasion for us), and the ballet master who corrected me the day before the show specifically said I was much better. I felt silly, since not many people were singled out, and I think it might have something to do with the way I reacted to the correction. I was upset and frustrated and I said that I felt like nobody would work with me either, so that's why it wasn't together. I hate to talk back to teachers when I am corrected, but I just couldn't help it.

I suppose all's well that ends well. My partner will be back in a few weeks, so I guess we'll see if it will be hard to adjust to him or if it will be comfortable like he never left. Hopefully the latter!

Janie

Dear Sanna - helpless

Today we had dress rehearsal on stage (a very rare thing for this company) including the piece where my partner is missing. I was under the impression that I would not have to perform this piece before my partner returned, but he is not back yet and there is a show tomorrow. Great.

And today after the rehearsal, one of the ballet masters told me I was not together with everyone else, which when I think about it is somewhat true, but this information would have been much more valuable if I knew a little sooner than the day before the show. AFTER rehearsal - I couldn't even try to fix it today! At least if I had known I could've tried to fix this in the studio when we rehearsed the past few weeks. It is also frustrating, because I know there are many instances where I am the only one on the music, or at least doing the steps on the counts we originally established. When I reflect on my dancing, I realize that I think I am a little subconsciously stubborn, so I am aware that we are not together, but I am also determined to do the steps on the "right" counts. Tomorrow I will just have to try to let the music and counts go and be with the group, but it is very difficult to try to fix this overnight without any rehearsals.

...not to mention the fact that I also dance with partners who also need to be together with the group. It cannot be completely my fault we are off the music. And it's hard to track down all these partners and work out problems, especially when the problems are with timing, which requires both music and the rest of the dancers. It is way too complicated!

But I am much less angry than I was earlier today so I will just do my best tomorrow to be with the group and have an open mind and good attitude, because staying angry will definitely not improve my performace. I'll let you know how it goes.

Janie

DanceMind:Dear Janie, Nerves ...

Appearances.

What if you woke up tomorrow morning and THAT feeling is gone - Poof!

No nerves. No upset. Dream come true? Maybe not.

Look at what happens here - You dance beautifully until 'he' comes in. Your power is reduced/drained because you started 'thinking' about his impression, how you may not like him, how you were not cast .... Mind rant drains your power. It activates frontal lobes of the brain (used for thinking, inner dialogue) and your body can't dance as well. The brain communicates to muscles and CNS.

Training is not the same story, it can feel a little awkward - is that the case here ? As you mentioned? You were learning? Even so, splitting your mind on what HE OBSERVES (which you really do not know what he is experiencing) takes you concentration away.

Janie, you realize from many past posts that you cannot control who is in the room, who is allowed to watch. This can be unnerving, which can be a good thing.

I am going to ask YOU TO TELL ME how THAT nerve feeling can be a good thing.

Sanna Carapellotti, MS CHT.

PS - The Stepping to Sleep PAYPAL buttons now work. What a challenge ....

Dear Sanna - oookay

So the dreaded choreographer showed up a few days ago at the end of class. Of course he missed barre and the beginning of center, my best part of the class, and I noticed his presence just as we were doing a particularly unflattering combination. I felt awkward dancing and glanced up to see him. Perfect. But I really tried my best not to focus on him, either constantly looking or really avoiding where he stood. I think I am getting better at this, because I was able to somewhat retain my composure and still be a ballerina.

Anyway I can't say I was thrilled by the end of class, because it's still frustrating to even have these nerves when somebody important watches, and I am already bitter towards this particular choreographer for not casting me. I was trying to decide whether or not to stay for the rehearsals, when one of the ballet masters approached me and asked if I was an understudy. I told him not officially, although I was looking at everyone and trying to learn the steps. He told me the choreographer asked if I was an understudy and that I should stay, since one of the understudies left the company. I was so happy just to be told what to do! It is so stupid thinking I want to learn something and the artistic director telling the entire company to stay, but not really being cast and not having enough room and not having a partner to work with.

So this tiny little incident improved my entire week, even though nothing at all was different after this little chat with the ballet master. Funny how something so small can change your whole attitude.

Janie

Dear Sanna - Ughhh

Today I just woke up on the wrong side of the bed. It was the first day back after 3 and a half days off, which is more of a break than I think we've had since October, and I wasn't even expecting it! I never do well with time off, because for one thing I find it hard to maintain my weight. Especially when there is a holiday and I am invited to big family meals it is difficult, but even regular breaks are hard because when I am not dancing I get bored and think I'm hungry. Or I get together with friends and often times we get together to eat. Sometimes it seems like there's nothing else to do when you meet certain people! Anyway, I think I did a decent job this time of not going too crazy, although I can't say I didn't put on any weight at all. I think it's important to relax a little and allow myself to have some treats, so I am not completely regretful, but sometimes I need to stop a little sooner. I am more worried for the long chunk of time I will have off (hopefully) for summer vacation.

Anyway aside from the weight issue, I also really find that my dancing is affected by even a few days' rest. I get out of shape so quickly! Things don't feel quite right and I can't do everything. I must say, though, that I think I might be getting better with time off. I don't know if it is because I'm getting older or more experienced, or maybe even that I have less classes than I used to each week, so my body is used to more time between classes anyway. Whatever the case, I am relieved that breaks are getting easier, but I still feel it, and I fear tomorrow I will really feel it (being sore from today).

But I still want to work. I love dancing and I like to have a full day, so today when the company was rehearsing a piece I am not cast to even understudy, I was torn about what to do. I usually go to the rehearsal anyway, because I like the choreography and I like to learn it, and also the artistic director did tell me to learn it. This isn't such a big deal since the artistic director tells everybody to learn anything, but still the reasons together are usually enough to make me at least stick around for the rehearsals. But soon the choreographer is returning and I know there will be many very long rehearsals with him, and I don't know what to do. On the one hand I hate feeling left out, and I do like learning it, but on the other hand he did not choose me and there is not much room and I am a little embarrassed to show up to rehearsals in which I am not cast. I really don't know what to do.

But today this rehearsal was moved to our horrible third studio, because our scary ballet mistress was teaching a mini course for younger students, so she wanted the big studio. It wasn't hard for me to decide not to go to the rehearsal in the gross studio where there would be even less room, but I hated the thought of doing absolutely nothing for a whole 2 hours of work. So I took barre of this teacher's class, even though I had already done class today and I know her school class is a killer. And I was wearing pointe shoes. The shoes were dying too, so I didn't go on pointe for a few things that were supposed to be on releve, and the teacher yelled at me! So I suffered through en pointe or demi pointe, and then the artistic director came in and started telling me to lift my leg, when I was taking it easy with one side because I have a sore hamstring. It is so annoying! Give me a break - I am taking an extra class to work for myself and improve, and I don't need people nagging me all the time!

Janie

DanceMind: Dear Janie, There are words -

When I have to work, I have a routine. I know what to eat, how to dress, what state of mind to be when I am at my most clear and intuitive. (Keep in mind that you throw away what you learn and then apply artistically. I am assuming ballet after a certain point is the simliar.)

Everyone has a different view of how the body can move and then when it is infused with emotion and style - you have choreography. Now know it is not that simple, cut and dry, yet choreography is about the individual who is creating. ( projection, love, an expression, a vision, an emotion) You as 'a ballerina' must strive toward excellence and be flexible along the way. Because you dance the choreography of so many different 'visions.'

It is the same with food, music, therapy (had to throw that in there) and even shoes. When you dance within a company the choreography is not within your control. You just have to do it ...

Yes, Janie, you are a ballerina.

Sanna Carapellotti, MS CHT

Creator of Stepping to Sleep for Dancers

recommended by Dance Magazine. Get Real Sleep!

DanceMind:Dear Janie, Infuse it with Passion

Of course you are right, Janie. When you infuse ordinary moments (the grinding moments) with your love of dance, your whole body responds. It is truly about perception.

Consider this statement. "I make my meaning."

Your beauty transforms each and every piece. Your energy, your artistry, your grace, your poise, your commitment ...

Your attitudes, beliefs create the experience.

When you carry your best possible self to the studio every day for 'the grind,' then those 'best' moments accumulate and define you. It all moves you forward in a way that is very authentic and powerful. You have that choice in everything you do, not just dance.

Step into who you really are ... or aspire to become by acting like it today.

Sanna Carapellotti, MS CHT
mentalperformances.com

Dear Sanna - being a ballerina

Sometimes I am amazed at the way our ballet mistress can take a piece of horrible choreography and give us corrections and actually make something out of it. If it were me, I wouldn't even know where to start cleaning some of the crappy ballets we do. It's really amazing the way she can make the ballet look completely different without really changing the steps.

...which brings me to the simple little epiphany I had today: dance like a ballerina. I know. Incredible breakthrough. But really, when I pictured myself dancing the choreography as if I were the ballet mistress, it felt completely different. The artistic director (and many others) have told me many times I look as if I'm not trying or not enjoying the dancing, even though they know I care a lot and really love it. So I just need to think about how much I love it, or pretend I love it if it happens to be choreography I don't love. Simple as that and my face changes and I don't look like I want to crawl out of my skin. Hopefully. Of course it's not magic, but makes a big difference.

Janie

Dear Sanna - being flexible

That is so cool we were featured in Notes From Upstage Left! I'm glad our blog is interesting and helping people.

A boy in the company took a 3-week leave starting yesterday, and the company really took it hard even though we knew ahead of time he would be leaving. I, personally, just realized how much we actually dance together. Nearly all of my partnering is with him. Luckily, we have few performances the next 3 weeks, and none with pieces where we partner a lot. However, today we had a special studio exposure to determine which pieces we will be touring with next year, and we had to show a piece I dance almost entirely with this boy. And we found out about it yesterday. Perfect.

So I assumed I would be dancing with the official understudy of the piece, who actually dances the finale with me. He's not the greatest partner ever but I am at least comfortable with him. But I should've known that wouldn't be, since understudies are so rarely used in small ballet companies like ours. They just make the poor saps who aren't in a piece hover around the back of the studio for all eternity, never going in, so that when they are actually needed somebody else goes in instead. When I first heard of my possible partner prospects, I had an instant stomach ache.

I was sure I had mentioned him before, so I looked back to older posts. I said this "more experienced dancer" made me shy. Well that was an understatement. It's moments like this that make me appreciate that this blog is anonymous, because the truth is I have a huge crush on this guy. It's just a crush and nothing more, because he is married, besides the fact that we can barely communicate with a spoken language and I can barely look at him. I know it's completely stupid, but I can't help it, and I find myself spotting him in the room all the time. Anyway, partnering any dancer with seniority over me always makes me uncomfortable, and the replacements for my partner all dance principle roles. And if it's not enough to have to teach a new partner and get used to dancing together and embarrass myself with only one day to prepare, I ended up dancing with 3 different partners (4 if you count the finale where my partner did not change, and 5 if you count my old partner who I only stopped working with yesterday).

My stomach was in knots, for my own mind, and also because I knew the artistic director would be especially critical of me. The girl is always blamed for partnering malfunctions here. But it was surprisingly not that bad. The director even said I looked good (with my crush! hehe just kidding that part doesn't matter...) but I just needed a little more punch.

Anyway we'll see what happens during rehearsals for the next few weeks until my partner returns. I hope it's not a whole new nightmare if he is really out of shape when he comes back.

Janie

DanceMind: Dear Janie, Back on Track

Hello there,

I will be address a few issues tomorrow. Stay well. 

Sanna Carapellotti, MS CHT

Oops is a BIG sale for YOU!

I misblogged on the reduced price of Stepping to Sleep, the restorative power sleep program for dancers. It was $10.00 off the retail price of $35.00,   NOT $10.00 as is blogged on Notes FromUpstageLeft.

NO PROBLEM!

HERE IS WHAT I AM GOING TO DO FOR YOU in time for your Spring Shows, summer intensives and auditions.

Tuesday, March 31, from 12:00 am to 11:59 PM, 

Stepping to Sleep will be $10.00 (plus S/H).

$10.00 for you!

You won't believe the power of this program. The best thing is you  put your feet up and go to sleep and improve your dancing. I guarantee it. Since Dance Magazine recommended it June, 2008, performers are realizing that tossing and turning, not sleeping well enough and staying up worrying about performances is a waste of time when you can be sleeping and conditioning your mind at the same time. Believe me you will feel different and dance stronger.

Be a well slept dancer! Your teachers will notice as Caitlin's did in Louisiana. Her teacher poo pooed that sleep was the sole influence in her change until SHE SLEPT!  Belive y still have to work and train, however, imagine if you were not tired! Dance rested.

You'll learn why sleep is vital to dance AND the most important reason why you need to sleep.

If you have any questions - you are welcome to call me 412.344.2272, and I will get back to you personally.

Thank YOU. GOOD NIGHT!

Sanna Carapellotti, MS CHT

Mentalperfromances.com

DanceMind & Notes From UpStage Left

DanceMind is being featured on this blog today! Cassandra Schaffer, a dance teacher and dancer, is the writer of this blog. She discusses anything dance in a way that is fun and quirky. She teaches and inspires through her musings. Ck it out - http://www.notesfromupstageleft.com

ALSO, to help all of you with your upcoming performances and as another way to get the word out that dancers can use mental training to strengthen performance, even if you have no stage fright or issues. I dropped Stepping to Sleep audio $10.00! That is over 30% -- I am not going to compute it exactly.

SLEEP - Even if you sleep, are restless at night or toss and turn with worry, this program will will lull you to sleep AND strengthen your performance! Not only do you sleep better, but there are mind empowering suggestions that literally improve your dance presentation.

There are also muscle memory boosters in there BECAUSE THAT IS WHEN IT HAPPENS. Not at the studio where you are pounding it out. AT night is when muscle memory strengthens and if you are NOT sleeping you are losing out on an easy way to improve your dance.

Listen to it for one week and you'll be rested and dance better, I guarantee it! ... Hey Dance Magazine likes it!

Have fun reading Cassandra's blog!

Sanna Carapellotti, MS CHT

Performance Therapist

mentalperformances.com

Dear Sanna - Performances

It's funny, I was just discussing with a friend what I liked about dancing here, and a lot had to do with performance experience. I think I have grown a lot this year when it comes to performing, since there is so much.

First of all, I really know what I need to do to warm up and prepare myself for a show now. I do class as full out and close to normal as possible. I treat it like any other day, because for me it is more important to get warm and feel normal than to save my energy or something for the show. I always have enough energy. Then after class I know I need to stay warm with the right warm ups and the most important things I need to stretch or re-warm up before the show. For example, I always stretch my frog and splits as a priority.

I am also getting better and knowing when and how to do my hair and makeup so I am not stressed for time before the show. Usually with school shows there is plenty of time, but here we are constantly touring different places with different dressing rooms and not always a lot of time.

After this it's just important to relax and talk to others if you want, but also know how to block people out if you feel you need to focus. Depending on the piece, I usually like to at least think through all the choreography in my head, and often practice things on stage before the show. If we don't do spacing together, I like to see where I will dance, so there are no surprises on stage. Things like this make me feel more comfortable when I am performing.

When the curtain actually goes up, I either try to distract myself from nerves back stage with whatever, if it is a piece where I need a lot of character more than technique, or I really focus on what's going on and what I'm about to dance if it's something technically demanding. When I am dancing I try to think of something pleasant and simple in the back of my mind, so I can let my muscle memory perform the steps without my mind wandering too much. I try to practice this kind of thinking even in the studio rehearsals. I try to picture what the stage might be like and pretend each rehearsal is a show, so I can dance just like I do in the studio.

Most of these things really seem like common sense, but at least for me it took experience to really apply a lot of simple ideas. Just dancing like you do in the studio on stage sounds simple but takes a lot of mind power.

Janie

DanceMind: Dear Janie, SPRING into Performances

Bell sent me an email -- She says that back stage is very crazy that it is hard for her to keep calm. There are moments when she wants to scream. She went on to say that she feels as if she stumbles onto the stage and it takes several beats to get her footing. 

Any one else?

DanceMind: Dear Janie, SPRING into Performances

With Spring performances around the corner, it may be a good idea to discuss how to manage oneself back stage so that no matter what happens you can move into performance with strength and power. 

First -  What do you currently do that helps you? How do you manage yourself?

Sanna Carapellotti, MS CHT

Performance Therapist

mentalperformances.com

DanceMind:Dear Janie, Uncontrollables

Be Ready.

Dear Sanna - these days

The other day I found myself the first one in the studio before rehearsal, so I was alone with the artistic director.
"Janie I was watched you in the performance yesterday."
Oh no. "Oh?"
"Yes. Nice legs. Good girl"
Whew.
"And in the first piece, you did Rachel's part?"
"Yes"
"I couldn't tell if it was you or her. Good girl! Good energy"
"Oh good thank you!"

I was shocked. Actually something nice to say without one backhanded addition! It was such a nice change. But not to worry - I always find something to complain about...

Today when the schedule finally came, about 30 minutes before class, which is so typical, we found out we had a photo shoot in costume. I was so annoyed. They could've at least told us yesterday so we knew to wear a little makeup, do our hair nicely, and even not eat such a huge breakfast since the costumes happen to be extremely revealing unitards. Grrrrrr. So luckily some people had a little makeup we could all borrow while we frantically tried to get ready. I didn't even have proper underwear for the costume, so I had to wear tights underneath. Just so many annoying things that could have been so easily resolved if they had given us even 12 hours notice. Ahhh well but life goes on. Hopefully I got a few decent pictures...

Janie

DanceMind:Dear Janie, IN between the dancing

Your post on 3/11 reveals how the time in between performance can influence stage presence.

Rushing, new marks, new choreography, a change of costume, last minute changes .... You can literally feel as you are thrown out on the stage on pointe no less! There is a lot of activity back stage that can distract you unless you take charge of 'a controllable.'

There is noise and movement that you cant stop and some of it is necessary.

Let's a take a look at this 'in between the performance' experience.

Any thoughts can be helpful. Struggles, Insights ... Become aware.

I have to prepare here for a client --
Sanna Carapellotti, MS CHT
Performance Specialist and Therapist

DanceMind: Dear Janie, Hello there ...

Well, where have I been?  This last week has been excitingly busy. I am off to sleep because tomorrow I am headed to day 6 of Hellinger training.  This work would be likened to you loving a certain piece of choreography. It feels good, You have a lot to learn. Yet it resonates within you. You have to do it. You have to dance it. It takes your breath away.

What I wonder as I consider this healing work with performers -- I wonder who is sometimes in the way of a performer/dancer when they cannot or struggle to succeed?  Sometimes it is not who you think. (Hint -- Not you!)

I am looking to connect the dots here.

Janie,  The less resistance you have to such shifts and changes the more flexible you are in mind and body. You are free to dance.

Your list of controllables a few posts back are actually pretty good. I am pleasantly surprised. You have learned a lot.

It is step after step after step after step after step after step after step after step ........................

Back in touch.

Sanna Carapellotti, MS CHT

Mentalperformances.com

Dear Sanna - That's show business

Friday the company lost two girls. It wasn't such a horrible thing they left, because the artistic director didn't exactly love them, so they also weren't extremely happy. However, it was a really inconvenient time to lose two members of our corps. We had to have an emergency rehearsal, shifting everyone around for our performance Tuesday, which meant me doing a few extra little things, and one completely new part I had only understudied before, not to mention dealing with a lot of other slightly confused people on stage. So it was the day of the show and I had had ONE rehearsal of the new part, and of course we had no time to get ready. I was putting my shoes on when the ballet mistress grabbed me and the other two girls who do the new part with me to quickly space it on stage before the show, which was kind of important and good, but also then I really had to rush to get ready, which is sort of stressful. Anyway there were a few terrifying moments, but for the most part it was okay. After the new part was over though, I still had the entire ballet to do like normal.

With a few changes in the corps, I found myself on the wrong side of the stage at one point, and wearing the wrong costume at another. Luckily for me, I have observant and kind friends who went out of their way to tell me I was wrong, so nothing tragic actually happened. Just some REALLY quick switching of sides and costumes. But the ballet mistress gave good feedback, even if it was "good under the circumstances".

Then after the show, since we had spent a lot of time changing that performance, we had neglected what we are performing tomorrow, so we had to stay the whole rest of the day rehearsing. I was also just thrown into a new part in this ballet, too, so I am really having to think quickly this week. I am just trying my best to just focus on the choreography, so I have fun and dance and do my best. If I focus on the negative, I will only sabotage my performance.

Janie

Dear Sanna - Controllables

Okay I've been thinking about what is in my control, so here's what I have so far...

Things I can control at work:

1. My attendance
2. My work ethic
3. Practicing the choreography I know/learning what I can
4. How I treat others
5. My body (to an extent)
6. My technique (to an extent)
7. How I respond to feedback, positive or negative

Things out of my control:

1. My schedule
2. The classes and pieces I am given
3. Casting
4. Poor teaching or no teaching of choreography
5. How others treat me
6. The director's thoughts about my body, both true and untrue
7. The director's opinion of my dancing
8. How teachers correct me

Can you be tranced?

Check this quick exercise --

http://www.mentalperformances.com/?section=hypnosis

You'll be surprised!

Sanna Carapellotti, MS CHT

EVENT: Sleepless in Steubenville

Sleepless in Steubenville!

 http://www.talkshoe.com. SannaCarp. Hypnosis for Life

Thursday, Feb. 26, 8:30 - 9:30.  

Recorded Live.

Will discuss influence sleep has on our day lives and how you can make the changes you need to sleep better, longer and deeper. You'll hear surprising reasons why people do not sleep well and how the problem was resolved. Will discuss with Lou, her sleep concerns and help her get to sleep! Join us ... 

If you have any questions, email me sanna@mentalperformances.com

DanceMind:Dear Janie, Controllables

What can you really control? and not control? in your company.

Make a list.

It makes a difference. You will be surprised.

Would you list it out here, please?

Sanna Carapellotti, MS CHT
http://www.mentalperformances.com

Dear Sanna - back to usual

Of course all this ballet drama always blows over, so things are fine now...

We are getting ready for another slew of performances now. Nothing like tour or that really crazy few weeks at the end of the year, but a show or two every week, which is pretty fun. What's strange is that we're doing different things almost every time. It's a little confusing and stressful, pulling out pieces we haven't done in weeks, but it is fun to remember and approach old pieces with an almost fresh start.

This will be our first show since tour, so it will be a little disappointing to be back to such small stages after the huge theater where we performed last. And I will also miss the spacious, clean dressing rooms! Oh well, we'll see how it goes!

That's really all I have to report for the moment, but I guess no news is good news :)

Janie

Photo

Enjoy this photo of my daughter at a performance in Oct. 

Sanna Carapellotti, MS CHT

mentalperformancs.com 

DanceMind: Dear Janie, Hello there ...

Yes, thank you for your thoughts. It was a pleasant weekend though. I learned a lot about my family and can appreciate that journey. I also met a cousin who is best friends with my husband's cousin in another city in OH. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

There is a collision of thoughts in my mind as I read your last post. Hmm-mm-m. If you were sitting in my office I would use EFT (Emotional Freedom Technique) to stop your energy drain.

Janie, you cannot control what other people think and feel about you. I am going to say this again -

Janie, you cannot control what other people think and feel  about you.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

If you were able to speak honestly and frankly to each dancer who was dissing you they would begin about themselves. If someone feels like that there are personal issues. "Why her and not me?"  "I've been here longer."  "I learned this piece last year. Why does she get to do it?"

You do not know where that comes from either. Previous rejection? Low self-esteem? Personality style? Trauma? Sleeping with the director? Youngest in the family?  Desire to be famous?  Depression? Negativity? Bad attitude?

You are a professional. It is a business. At any given time they are looking for the best person to perform (even if there are political motives).  Sometimes it is height, level of technique, coloring, friendship, style of dance, ability to emote, depth of artistry ... yada, yada, yada.

You don't really know the who and why. Your work is to do your work the best you can. The tables can shift at any time. We have all been on both sides of the barre.  THIS IS AN UNCONTROLLABLE. You can control you ---

 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

They do not have to talk to you about how they feel about being cast or not cast. Are you their confidante?  Do you expect them to come clean about how they really feel?  THAT could be where the problem lies.  Ideally, how nice it would be to chat over the good and bad times, but not all are willing or capable of doing that.

I am driving home a pointe. You are employed by the company to dance. If you have a friend there and the two of you chat about this and that. Great.  Finding friends outside of ballet may be a good thing. Discovering ways to clear  your mind is desired and positive.  I believe there are some posts way back that address that. We can certainly bring it up again.

Let's face we all have pity parties. I had one last week. (Thank goodness my friend snapped me out of it.)  You are right it is not always about us, although we can certainly trigger thoughts and feelings in other people and we can influence them as well either way.

I had a client last month who after some work realized that he was responding to his artistic director angrily because she made him feel like a previous teacher. Sometimes there is history. He was not aware of it as it was happening in the studio. He saw the parallel and together we worked through it.

GET THIS -- When he let go and healed the old wound, his relationship with his current teacher changed dramatically. How do you explain that? Energy shifts influence other people too.

Sanna Carapellotti, MS CHT

mentalperformances.com

PS... I have to get this recording done and then we will do Gold Cup Dream Seminar.  Get ready! My musician guy has a deadline and I have to get this to him....

Dear Sanna - it's lonely at the top...

no not really i was just trying to think of a dramatic title! i'm not that conceited, nor that lonely, but the truth is i'm doing really well here and not everyone is terribly happy about it. the world doesn't revolve around me either, and maybe a lot of it is to do with their own personal issues, but i am feeling a bit of coldness from some of the dancers.

it's not as if i'm being cast as the principle in everything, but we are doing a bunch of new pieces and i am happily learning almost everything, and even first cast for a few things. it is such a nice change to be fairly new to a company and already being used, even over some dancers who have been with the company longer. some of my friends were either learning the same parts as me and i was chosen over them, or they weren't asked to learn things in the first place, and they are noticeably avoiding me. i understand maybe it's harder to talk to me about not being cast, but i never acted that way when it was me not doing things. at the beginning of the year i was really upset not to be learning a soloist role most of the girls in the company were at least learning, but i never held it against the other dancers. i learned a long time ago that if i held a grudge against everyone who succeeded i would not have too many friends. plus it doesn't make my life any better to be angry about it.

on the other hand, there are plenty of people who don't respond so childishly or haven't been given the chance to because they are cast anyway, so really i am fine. it's just annoying to think that some people don't want to be friends with me because i am well-liked by my boss at the moment. it's fun and exciting to be cast in a bunch of new things. i had a really lazy partner, however, who made me feel bad about making him do things full out too many times. there is a bit of a language barrier, and i kind of had the impression he was injured or sick or just really tired from too much rehearsal, so i either marked by myself or stood around awkwardly for a good part of rehearsals. luckily for me, the teacher noticed what was going on and switched the couples so my partner went with his girlfriend who wouldn't let him get away with being so lazy because i'm "too nice". my new partner is definitely ranked lower in the company that my last, but he is definitely not lazy and i really actually prefer working with him. i just hope it doesn't hurt my chances of being cast, since my old partner is usually used above my new one. oh well, we'll see.

janie

p.s. i'm so sorry for your loss, sanna. it's such a sad fact of life :(

Dance Mind - Oh dear -

Janie, I have to leave in the morning to go to a family funeral. It is sad. I will return in a few days.

Think about next week when you want to begin the program, "Gold Cup Dreams!"

Everyone can move along with us. It will help you to dream big! Ordinary goal setting is very out!  Pick a day, say Thursday and we can get to it!

What I would need you to do Janie is to hop on every day and respond. There will be audio and maybe a video and some info. This will be very helpful!

Invite your friends. Tell anyone who wants to DO SOMETHING bigger to join us! Not just for dancers ... Everyone can dream BIG!

Sanna Carapellotti, MS CHT

PS Janie, you can let me know.  I will ck my email but will be with family and traveling.

Love you!

Dear Sanna - let's go!

I am ready to set some goals, although I might need a little help because at the moment I cannot really think of very specific things...

Anyway work has pretty much been business as usual. We are learning 2 new ballets right now, one of which I really like and am definitely part of (pretty much the whole company is in it). The other is a little heavier, but I actually was surprised that I like it a lot, too. It's a bunch of couples, and the casting isn't really clear yet, but I think I might be dancing in some of it. It is hard to tell. Anyway we will see.

I feel a little funny in the second piece, because it is partnering, which is not exactly one of my strengths anyway. Then on top of that, my partner is always really really tired because we rehearse this ballet at the end of the day and he always has a full schedule of rehearsals and usually his variation just before. I would like to do it full out more often, but I can't force him to if he is tired. He also isn't really all that sure of the choreography, and seems to be hoping we stay second cast instead of actually going in. I don't want to nag or upset him, but I also want to be considered for the part. How can I show I want to perform if I can't practice enough to do it well with my partner?

Janie

DanceMind: Boundaries?

In sports and performance, the boundaries are not clear to say what is considered abuse or crossing the line. People also have different thresholds and tolerances. 

If you are told in the middle of class, "You are too fat for a tutu? I can never allow you to be put in a tutu." Is this abuse? (This actually was told to a dancer weighing 115 lbs.)

Is this teacher being appropriate and respectful? NO.

Alternative approach to dancer in private -- Discuss wght matters privately, if necessary. Make best choices for piece with staff. 

 More is tolerated. Less is discussed because of the potential ramifications. It does seem to me that after the situation is out of control then maybe someone speaks up.

Many years ago, when my daughter was in grade school. I spoke up. She was a child. I am her parent. A teacher was exercising the dancers in a way that was not appropriate. They were not being warmed up at all and had to do something (I forget now). I heard parents complaining about injuries and then my daughter and I talked. She told me what was happening. 

Part of this experience was for her to learn what is correct and not correct. She would then have information to compare.

I spoke up to the director and it was resolved. My approach was one of curiousity, asking, not entirely sure but here is what could be happening. I did not storm the castle or make accusations. I simply was asking for clarification. The director agreed that it was inappropriate.

VERY IMPORTANT - Most dancers I work with love most of their teachers. If you teach, your words go with your students  for many years, just as you have already experienced. You make a difference. 

Sanna Carapellotti, MS CHT

DanceMind: To Anonymous

Thank you so much for your thoughts. I agree that your vwpt because what you have shared is very common especially in ballet. I hear the stories and know the pain from clients.

Learning that there is nothing you can do about demeaning comments, or criticism takes hold at a young age. We are told not to tattle. We know if we make waves, others who are obedient will get roles.  We also risk other group members ridicule and rejection. Students have been asked to leave schools.  Our parents can also support this 'not telling' to avoid making waves. 

I understand becasue as a parent of a professional ballet dancer, I spoke up when she was younger and then when she was older I told her that it is now her turn to make the decision when to speak up, how to manage it personally and when to ignore.

The teachers my daughter and you respect are the ones who are firm, have expectations, know what they are doing technically, have a process and want you to succeed.  One instructor who my daughter adores was the toughest, yet the most supportive. Never demeaning. Not hostile.

She wanted to work for him.

A part of the comment that I want to address is this (I am not being critical understand. I am teaching you.)

This is  copy from anonymous --
"I have always assumed that you were supposed to just bite it and get over it. I think with alot of the abuse its just your job to toughen up and handle it. Artistic differences in styles, bad days, and people who barrage you with insulted questioning your work ethic you just need to shoulder. I don't think there's anything you can do about that stuff."

It is important to differentiate between someone having a bad day, or a firm,  demanding teaching style and those who are consistently aggressive, hostile and threatening.  There is a school on the East coast that literally has 'sickened' dancers, meaning, mono, panic attacks, IBS, eating disorders, depression ....  

If a dancer tells me about an ongoing experience that is bad and uses those words above to describe the situation - "Just bite it" or "You just need to shoulder it."   I would look for digestive struggles and neck pain/shoulder pain. 

This is where stress would be held in the body for this individual. If this is the case, then you must "care' for those areas and learn how to not HOLD the anger. You are a human being.  It is human nature. 

Because we mentally shut down, stay in denial does NOT mean we are not taking the insults into the body-mind and life. We are still effective. Blind love for ballet, dance at all costs - still has consequences especially when it is psychologically hurtful.

I remember in grade school the teachers were very mean and abusive. We did not tell our parents, and certainly could not go to the principle. I 'learned' to hate learning because of the experience in the classroom. Today, teachers are terminated in the behaved in that way.  Does ballet have a tomorrow?      

The real question is - How much can you take? How do you take it?  

I appreciate this discussion. This darker side of performance can be handled, managed with increased awareness. We can talk about that...

Sanna Carapellotti, MS CHT

Performance Specialist

Dear Sanna - the power of hindsight

It is amazing to think about how much I have learned in the past few years. As I was reading the posts about Julie, I had such strong memories of myself during high school and earlier. I had some teachers in ballet who I hated so much, I barely thought about dancing at all during those classes. I expended so much energy talking and thinking about how much I hated a teacher, when I could have been working on my technique, or at least enjoying my time dancing. When I think now about those classes, I just tried to make the time pass instead of taking advantage of my chance to improve. I often found myself rebelling against the combinations, as if to prove they were not good, and instead making it seem like me who was not good. If I would have accepted the challenge and made something of what I then thought of as a terrible combination, it would have been much more productive (and healthy, too, I think!).

It's so simple now to think, yes teachers can be annoying, but class is still class. Of course I still get annoyed - I just talked about how frustrated I was when the warm-up class did not prepare me for a show, but I certainly do not get angry the way I used to. I still try to make the most of class, and I really understand now and appreciate that class is for me. I make what I want of it. Teachers can give their imput, but it really is up to me how I want to work in class every day. Especially as a company member, nobody is forcing me to even finish class. I could slop through barre everyday and then leave if I wanted, but first of all there's no fun in that, and second of all I would never get any better.

I think Julie needs to remember why she is dancing in the first place. Teachers are important, and it's nice to respect them and be able to learn as much as possible, but if you really cannot like them, at least do your best work in class and try to make the most out of dancing. It is so true what Sanna says about negativity. It can completely change the atmosphere and the way you perform.

Janie

Dear Sanna - stepping away

This is a reflection of my last post before I left on tour. I was talking about that show that did not go very well, just before the director took a bunch of people out. So you know the story, but here's a little more about what it was like for me.

I was so frustrated during class, first off, with that annoying teacher. I hate not feeling I can warm up well, and it makes me anxious for the show if I am not prepared. It's also a bad feeling, fighting with my teacher. Then when we got to the theater, the whole time I was just praying we would have some time to warm up. We could all tell the director was nervous, the way we kept doing the same stupid piece over and over and we were getting yelled at like none other. Then with so little time between spacing and the show, everyone was rushing and nervous. Not a good atmosphere right before a show.

What I think was the final straw for me was just before curtain. Our teacher really emphasized how we need to be really warm right before this piece and suggested we do it before the curtain goes up, so I made getting to the stage at least 10 minutes early my priority (over very careful makeup for example). I did the whole thing and it was okay, and I felt a little better about the show, even if we hadn't done any spacing for this part. But then the rest of the people started coming in, along with the teacher who had told us to be warm. She didn't know I had just finished doing it, and we really can't communicate, so she motioned for me to do it (again), and what's worse she started correcting me on something completely new, and I don't think just before a show is really the time to try to approach a ballet a new way. It just made me a million times more nervous and I just wasn't even sure I could do it in a way that would make her happy, and that's not even considering the other people watching, i.e. the director.

When we started dancing I could only think about her watching and scrutinizing me and I could feel the thoughts sabotaging my performance. I know what thoughts are good for me while I'm dancing, but sometimes I just really can't help thinking about these negative things.

When the artistic director took people out, I wasn't too too upset, because like I said I could have been taken out of much more, but it was still frustrating to be taken out after just one chance. I was kind of hurt and just confused. I wasn't sure whether I should speak up and say I really feel I could do better if I was given another chance or if there was more space on stage. I am not usually one to do something like that, begging for a part, but in this situation I actually felt confident enough to do so, just unsure whether it was the right thing to do. On one hand, I know I had a horrible show and I could do so much better, plus the dancer who replaced me for the part I was taken out of has a lot on her plate, and I'm sure would be relieved to not have to do my corps part before her solo. But on the other, I felt myself and also understood from my friends' advice that the it is not wise to show the director that this change really upset me.

In the end I just let it go, and I think it was the right thing to do. I am not so deprived being taken out of this tiny chunk of the ballet, and the director does not seem too concerned with it. I am still getting either good feedback, or nothing, so I really can't complain. Maybe it's better now I can work on this extra nerve-racking beginning on my own, and perform the rest at my very best. Better not to give more reasons to be criticized. Of course it's good to challenge myself, but if the role just isn't good for me, then why make myself look bad?

Janie

DanceMind: Julie

While Janie continues to unwind, Let's turn to Julie.

I have a question - Where do you as a dancer draw the line between abuse from a teacher, someone's teaching style that is always critical and demeaning, someone who is having a bad day (are they excused from professionalism?)?

I would like some feedback from you. Write to me anonymously.  This is very important to your mental and physical health.

Sanna Carapellotti, MS CHT

Performance Specialist 

Hypnotherapist

WELCOME HOME, JANIE!

I am very happy to hear from you! Rest up, catch up on the posts and comments and we can begin our  Seminar! I need a name for it ... hmmmmm. Need a name ....  Dreams?  It's not about goals, that is too outdated  and does not really work ... AH.  Well, I am going to have to figure out aa catchy title. Back to you after Janie gets rested. Let's plan this ... Janie, let me know when you are ready.

Sanna Carapellotti, MS CHT

Mentalperformances.com

Dear Sanna - home at last!

I just got back from the most incredible trip. I am exhausted but I had so much fun - one of the best times of my life. Everyone was sad to leave, because it was like a vacation with all of our friends, but coming back here makes it really feel like home. It's a nice feeling. I see I have missed a lot of posts so I will read them and get back to you, but for now I'll talk a little about the trip.

So the day to leave finally came, and everyone was excited to get on the bus and go to the airport, especially our scary ballet mistress, who was completely intoxicated. It was actually really scary to see her so messed up, and it was a little embarrassing for such an important member of the company to look that way in public. She did go back to normal when it was time to work on tour, which was a relief, but a lot of people lost respect for her because of the way she acted. As long as she does her job as wonderfully as she normally does, I guess it doesn't matter that much how she acts outside of work, but it is weird to let your coworkers see you that way.

Anyway the city was incredible and we had tons of fun exploring, trying new food, and bonding with the company. We had breakfast and dinner in the hotel everyday, and usually there would be something going on in some hotel room at night, so I got to spend time with a lot of the company members I don't usually see outside of work. It was so much fun. We even got to do some sight-seeing and touristy things, which made me really appreciate traveling and this company for it's great tours. This trip alone made coming here worthwhile.

The theater was incredible, too. We are used to dancing in mostly really small theaters, usually just for one show before moving on to a new place, so it was great to stay in one spot and have a beautiful, spacious dressing room. The shows were practically all sold-out, which was also cool, because we knew there were a lot of people who really wanted to be there and were interested in seeing us.

Now we have a couple days of rest before it's back to work. It will be interesting to see what it's like back at the studio after the tour.

Janie

DanceMind: Julie

1. Identify the experience and is in assisting her to move forward, stay the same or step back.

2. What are the triggers?

3. Are there any familiarities or parallels?

4. What does she really want to do, feel to handle the classes?

5. Does she have the resources within to cope and set a new perspective?

6. Is there anything she can do within the environment to make changes?

Consider these questions.

Sanna Carapellotti, MS CHT

Performance Therapist and Hypnotherapist

Mentalperformances.com

Dance Mind - Julie.

Julie is 16.  Like you she has lots of teachers for her dance classes. She is a competitive dancer.

There are three teachers that 'rub her the wrong way.' Just the mere thought of them made her grit her teeth. She would rant in her mind during class - "I hate you." "You are so mean and ugly."  

Julie disliked attending these classes and found herself wanting to miss class. She was less than enthusiastic to go to class when she felt devalued and criticized. She did not mind being corrected, but there was a tone that really bothered her and made her angry. She would mess up simple routines and found herself in a rut.

What could she do?

DanceMind: Janie Travels -

While Janie is traveling ... We can look at a few things ...

1.  In the studio there is order. Everyone there has a place, a role and a purpose.  (same as family BTW).  

2. You cannot control the personalities of your teachers with negativity, hostility, gossip or even self-sabotage. They are who they are whole and complete. However, how they act towards you, as a student or professional, does indeed have a consequence. If they are snotty and demeaning, they lose respect, possibly their jobs, the quality of performances diminishes because it becomes difficult FOR SOME to put their best foot forward. Or like a conflict ridden relationship, one looks for approval and acceptance (student to teacher AND teacher to student) and continues striving for the elusive perfection.

3. Do you allow teachers who are MAYBE having a bad day or are consistently mean and punitive take away your power?  Do you realize that when you gripe to yourself and others in the studio, you lose focus and power?  More errors, forgetfulness, less flow, more pain .............

4. You join in the conflict when you match it (just as negative as the teacher) in your mind and body. Student and teacher bond together negatively.

5. Who controls who?  Can you maintain your own Mental STRENGTH to take what you need to know to improve TO REACH YOUR GOALS and leave the emotional stuff where it belongs - WITH THE OWNER (person who behaves badly or 'good').  

6. I will tell you another story tomorrow.

Sanna Carapellotti, MS CHT

www.mentalperformances.com

PS - Pass along this article to your reads - It is ALL In You Head, by Sanna C, Dancer Magazine/January 2009

Outcome Setting

When Janie returns we will move through a goal setting seminar that is fabulous. It becomes a whole body experience that leaves you pumped.  Just saying you want something is not enough. 

We'll do it together, so you can change ... Tell your friends to hop on and everyone can get better together. 

Imagine if we all 'acted as if' we are competent and successful all the time!!!

So when Janie return this weekend or the beginning of next week, we are on it!

Sanna

Here's a story of a lovely dancer -

Lucy (False name) is a professional dancer.  Highly trained and considered to be an asset to her current company she has been offered more challenging and demanding roles.  On stage she is graceful, poised and beautiful. She has been called "a quintessential dancer." On a social note she is well respected, lives somewhat reclusive and quiet.

She called me when she noticed a distinctive change in her stage presence, her ability to be comfortable on stage had diminished and her mind flashed some seemingly unrelated images and words. She felt very unsettled and worried. Her directors were also noticing this distraction.

Lucy knew she had to do something but because it was ambiguous and unusual she did not know where to go.

She found my ad in Dance Magazine and was hoping hypnosis/energy therapies could help her.

Not only do I coach and teach mental techniques, I am also a therapist.

SO we explored her life, discussed her goals, family support. Everything was cool there. She was 'lonely,' had odd sensations in her knees and felt like she was going to collapse for no reason. She had recently been given a different stronger role in an upcoming production.

We decided to look back through her family and BINGO!

Her grandmother was an immigrant to the US.  Her grandmother had been a performer in Europe in the 50's.  She was forced to move to the US by her husband.  When her grandmother arrived here she collapsed and 'fell to her knees.' She cried and cursed her husband saying, "I will never dance again." This collapse created chaos and embarrasment for her grandfather. 

Interestingly Lucy had heard this story repeatedly when she was a child. Lucy's sense of it was that her grandmother was forced to do something that she was not ready to do. Lucy remembered feeling a lot of compassion for her grandmother and currently feels lonely like her in the present time.

Lucy had never met her grandmother because she died just before her birth.

HOW DOES THIS relate to Lucy?

Subconsciously, she strongly identified with her grandmother's plight. She realized that she felt forced to make a change in her position at the company She was not ready to make this change. Therefore displaced the feeling of collapse onto her knees like her grandmother. 

Lucy was still puzzled and discovered that there was a part of her that felt that if she messed up in these upcoming roles (she was being tested) She too would never dance again (Highly unlikely but the mind can play games with us). She also discovered a real loneliness that she had been ignoring.

Loyalties travels down through the generations. Her experience had paralleled that of her grandmother.

She separated herself from THIS identification with her grandmother and connected with her grandmother's true love of the stage. Her grandmothers plight is different from hers and it belongs to her. After  process work now when Lucy dances, her grandmother is looking on proudly (in spirit of course.)  The collapsing sensations are gone, she is ready to be 'tested' and has decided to take action to not feel so lonely.

Who knew? Interesting story. I have been interested in exploring this aspect of how artists struggle in their quest for personal achievement. I think there are times when it is not about more repetitions or mental techniques.

EFT and  Family Constellation work has great potential for healing.

Sanna Carapellotti, MS CHT

DanceMind: Dear Janie, Step Away ...

Janie, when you return from your trip, please reread your previous post.  I would like you to write to me what it was like for you. The story is not important. Those characters and events happen all over the world within companies, the faces are different.

What is the dancer's (your) experience with all of this going on?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

It's All In Your Head! The Power of Thoughts on Performance. Dancer Magazine, Jan 2009.

http://danceruniverse.com/stories/issues/200901/notits_in_your_head_the_power_of_thoughts_on_performance-J12/

Share this article with your dancer friends ... It is creating quite the buzzzzz.   Yes, dancers can manage their minds using mental techniques too - just like athletes!  

Tomorrow I will share a case with you that I am allowed to share although no names mentioned. You will be amazed at what can influence your performance. Read it tomorrow here while Janie's gone.

Sanna Carapellotti, MS CHT

Performance Therapist. Coach.

mentalperformances.com

Dear Sanna - hey there

Wow I just wrote the longest post when my internet decided to close!!! I will try to remember...

So Sunday there was a pretty disappointing show, and I didn't even really know what to say right after. The day began with class from a teacher I once really liked, but now she is fighting for her job and trying too hard to seem important. Instead of the good corrections she used to give when needed, now she just stops the music all the time to yell about something stupid and insignificant, just to seem important. She also has to make a point of speaking up and agreeing with only the really horrible things the artistic director says. Anyway I was about at my wits end when we started the grande allegro over for the third time because somebody did an arm in fifth instead of first and then she wanted 4 people instead of 3. We didn't even do a good jete combination, which is really important for me before the triple bill, since I do a lot of jetes. It's not the same practicing on your own without music.

Then we wasted all the time we had for spacing on this stupid new piece where spacing is the least of our worries, and had no time to space the other pieces. The stage was also tiny. By the time we finished the stupid piece, we barely had time to do our hair and makeup, so the other parts were a mess as far as spacing goes. Well it was just a bad show for everyone. We had no room to stretch our arms and legs and everyone was on edge.

The next day the artistic director took a bunch of people out of things, so there would be more space but also because we did not do well. I was somewhat consoled by the fact that I was only taken out of part, while the rest either stayed or went. Of course it would've been better not to be taken out at all, but I was glad I still got to do something. It's really unfortunate the rest had only one chance. Hopefully casting will go back to how it was when we go on tour, where the stage will be nice and big.

Did I mention we were going on a week-long tour by the way? It is so exciting, because we are going to a really famous city, but it is very far, and most company members have never been there (including me!). I can't wait to travel and see all the different things and perform for a new audience. It is a really cool thing to do, and I'm not sure I would ever get to go to this place if I wasn't dancing here with this company.

Anyway there was one last show here last night, and it went much better. We took time to space everything, and there was more room since there were less people. The artistic director even told me it was good (besides one little thing of course) in the end.

So hopefully I will have internet access this week, but if not I promise a detailed description of my trip when I return!

Janie

Dance Mind - WHY SLEEP?

Thanks for the question below, Anonymous.

Yes, you can improve your performance all around with your eyes closed.  Sleep is a necessary component of a solid performance. If you aren't sleeping well or wake up not rested, or even if you are sleeping Ok, you can still improve. 

The most important question - Why would a CD help me?   When you listen , at bedtime, your brain is retrained to get the best most possible. Remember your body needs and knows how to sleep. It is what we DO and think that set the stage for sleeplessness.

AT night the body AND mind are regenerating and restoring. It is set up that way. There are many chemical reactions, and shifts that occur in the body.  I don't want to bust the most important reason why sleep is important, but there is one main reason that assists performers especially.

Here are ways better sleep helps ... reaction time, better moods, lubricated joints, better able to pay attention, can move faster, remember more, eat less junk food,  heal wounds and muscle tears ... When your body and mind are rested you can do more.

SO imagine how those benefits can improve your class, rehearsals and stage presence.

Most teens and college students are very sleep deprived. When you miss sleep, the body struggles and not always immediately.

I set this program, Stepping to Sleep up to be easy because I want dancers to realize self care and how to take a holisitic approach to their training. This is ONE NATURAL WAY to get a good night sleep.

It is important. You will dance the difference literally.  Your teachers will notice.

Sanna Carapellotti, MS CHT

Performance Therapist and Coach

mentalperformances.com

DanceMind: Dear Janie, Sleep, Sleep Sleep ...

I just had to share this story.  A Mom purchased the Stepping to Sleep CD for her daughter last summer.  The daughter was not interested (she is 16) ... she said that she slept ok and was performing fine.

The truth, according to Mom, was that her sleep was less than 7 hours and she was not getting great roles because her performance was not as progressive as her teachers thought if could be.

In November, Casey began listening to the CD because she was really tired. She popped it into her ipod, crawled into bed and fell to sleep listening to it. She listened to the program and fell to sleep waking up in the morning feeling unusually well.

Each time she listened to it, she fell asleep faster and woke up feeling even more energized.

Now she does not understand guided programs really how they effect her brain, muscles and performance but what she does know is that she feels  rested and ready.

Her teachers noticed her an increase in motivation, a cleaner technique and more presence in her performance.  For the Nutcracker her roles remained the same.

Last week, her teachers said it was time for her to move up to the next level early. She was stronger, more pumped about class and more confident.

Who could believe that improving your dance practice with your eyes closed could really work. Sleep makes a difference.

HINT:  The magic is in the experience, and you can buy Stepping to Sleep here.

Dance Magazine recommended it in June, 2008. They know the importance of sleep.

Sanna Carapellotti, MS CHT

Performance Coach and Hypnotherapist

mentalperformances.com

It's All In Your Head! Article, Dancer Mag., Jan. 2009

It's All In Your Head!  Dancer Magazine, Jan. 2009

By Sanna Carapellotti, MS CHT

Get to Know yourself a little deeper --

DanceMind: Dear Janie: Be your Number 1!

Janie,

It worked out for you!  I am constantly amazed at hind site.  Worry, anticipatory fear, fret and dread can take up a lot of 'life time.' As you look back, was it worth your while?

It is a part of the human condition to experience anxiety, although with great variance. Catch yourself in the act. Ask yourself these questions, "What else can this mean?" "What don't I know right now?"  "Will time tell me what I need to know?"

Worry, and all, are a departure from the present. You are reaching into the future, where there is unpredictability.  We believe that we know all, yet as we move into the upcoming moments life continues to happen around us.

Have you ever noticed that what is in our minds (what we focus on?) is what we look for in our environments?

There is MS. Negative and Doom and there is MS. Positive and Light.

Anyone can find a doom and gloom in the most perfect weather day. 78 degrees, blue skies.

"Ack, it is supposed to rain next week." "I have to mow the grass now. I hate doing that."

Ms Positive and Light stands and appreciates the sun and sky as she moves thru her day. The weather simply is.

Sometimes a simple easy slow breath can return you to the moment so you can ask yourself the

questions above.

Especially if you notice a pattern that disrupts you.

In dance world. You do not know what they are discussing behind the scenes, how things can shift and change.  You must learn to move with the flow and influence your position.

How can you be the best you can be?

Sanna Carapellotti, MS CHT

mentalperformances.com

dancemind: Dear Janie: Yeah!

Very Nice Janie.  I will follow up very soon.

I also want to mention a talkshoe.com webinar on Thursday, Jan 15 at 9:00 EST for an hour. 

Hypnosis for life - Sanna Carp

New Years Resolutions Fizzled out?  Discover the secret to a lasting resolution.

Then we can start the program here thru Talkshoe so it is audio.  Good?  I gotta sleep. Long dayzzzz.

Sanna Carapellotti

Dear Sanna - better...

I did it! Today I found a friend struggling to learn the same pas de duex as me, so we both tried our best to remember it together. I was frustrated because the schedule was misprinted, so I didn't realize we had a full run of the ballet, and therefore the dreaded pas. Anyway my partner didn't actually come in to partner me for whatever reason, but it was okay because I was able to watch more and try my best to get the choreography. I was kind of relieved to not have to rehearse with him because I am so self-conscious and I really was unsure about the steps, but I am also hoping that partnering me isn't so incredibly awful that he is avoiding it. I swear I'm not reading too much into this on purpose, but I can't help wondering.

Anyway after the run I asked the other girl to try to go over the steps again with me, but we were really getting stuck, so together we went and asked the main girl doing the part, and she seemed happy to show us. We just asked her to tell us what was next at a specific part where we were stuck, but she continued to mark through the whole thing with us. It was really nice, and I feel better now. I can go over it with my friend, and if I really want I am less intimidated by the dancer doing the part. Whew.

Then at the end of the day, in my excitement at finishing early, I accidentally made the mistake of being the last person in the studio with the artistic director since I decided to practice a little. Well I ended up having to do the parts I was thrown into the other day with "more energy" and show the foutees I had been practicing. I'm sure it had a lot to do with the fact that my mom had come in to watch the end of rehearsal, but either way the director was satisfied in the end and told me to always do it that way and I am a good girl and a good dancer and very beautiful and if I lose a little more weight I will really be used. The director wants to use me. It's nice to hear I am liked, even if it is a bit of a back-handed compliment. Hopefully this favoratism lasts!

Janie

DanceMInd: Dear Janie: Get clear ...

If you have to ask this dancer tomorrow. Be clear with what you intentions are. The more you ramble on, or the more defensive you are about this request, you sound like you are hiding something. In the ballet world, not good.

SO get clear and then take a few breaths and go ask. 

You cannot control her response, but take charge of how you ask. 

"Mary, I am wondering if you could help me with these parts. I am having trouble (Or I need to review) .... Can you work with me today at 1:00 or tomorrow before rehearsal?"

Let us know -- 

Am planning the dates for this outcome/goal setting.  Spread the word so others can benefit.

Dear Sanna - yes!

I can commit to a chunk of time where I will blog every day, this has just been an extremely busy (and wonderful) week for me. It's funny how working through the holidays makes me oblivious to the new year and everything going on. I haven't even thought about new year's resolutions or things like that. I'll get to it... but this past week has been really great. Work is really intense, because we are working on the program for our next performance, and it's been a while since we did it.

Our teachers are being more demanding with the first piece, so I am working harder trying to get it exactly right and even better than before. Then, the director has been asking me to learn everything lately. I think I am finally winning over the director. There is a pas de duex I am supposed to be learning that is really crazy and unclear. The director made a more experienced dancer come learn it with me, but I am very shy around him, and his English is also limited. It is very hard for me to pick up the choreography, and I asked another dancer who understudies the part for help. She basically said no, she doesn't know it very well, why do I want to learn it, ask the main girl. I am reluctant to ask the other girl, but I might work up my courage tomorrow. It's a sticky situation.

Then I was thrown into two more sections in this piece, where there were somehow spaces. These parts are nothing special, but it's nice that the directore thought of me when there was a space to fill.

I am also in the first and third parts of another piece in the program, which is a lot of dancing, and I am now understudying the middle piece, a pas de duex. Again, I am working with the same guy, but this is slightly better because I have a better idea of the choreography as we are cleaning it.

The last piece I am not in at all, but I learned the part of a girl who is away this week. I went in for the part last week, and instead of being praised for knowing the choreography really well (if I do say so myself!) and never having done the part before, the director just said it wasn't good enough and I need more energy and made us all do it again from the beginning. But today I went in for the missing girl again, and another dancer filled in for the other missing girl with me. When we finished the director said how great it was and told everyone how well we did for going in for the missing girls, and told me specifically "I really like you."

I hope this lasts!

Janie

FOR SALE - College Guide

I have a Performing Arts College Guide for Sale.  Dance. Drama. Music.

If you are interested, Contact me personally.  Sanna@mentalperformances.com

DanceMInd: Dear Janie: Getting clear ...

Hello, Janie,

I am wondering if you are able to commit to posting everyday for a short period of time. We can hash thru some goal/outcome stuff to help you move forward this year.

Remember MOST RESOLUTIONS FAIL!

Why? Because there is no plan, it is driven by will power which fades quickly and the mental focus is on the negative.

Let me know and we'll hope to it.  Tell others too Because this is a good experience to think through what you want. If you are reading this post tell your friends, even if they do not dance. It will be worth it - cause then you'll be sailing .....  YES!

Sanna Carapellotti, MS CHT

Performance Coach and Therapist

mentalperformances.com

PS - New article written by ME coming out in January, Dancer Magazine, Mind-Body Connection

Dear Sanna - Happy New Year!

After a very long run of shows, working 10 days straight without a break, I was in desperate need of some rest! It's very difficult to go so many days, pushing myself during class and then for a 2 hour show. I am literally running around the entire show, because if I am not dancing, I am doing a quick change or standing on stage trying to look animated without being too distracting. By the end, even though I was more comfortable with the choreography, my shoes were completely dead and all my little aches and pains were flaring up. It was so nice to let my muscles settle down a little and sleep in!

My mom came to visit, so she got to see the last two shows and today we had the whole day to spend together. It was really strange not being in the states for new years and watching the ball drop with my old friends and family, and I definitely miss them, but I was also happy to have my mom visiting and spend the new year here with my new friends. It is also very pleasant, for the very first time, not to have to rush back to reality on the first of january. I don't remember the last time I wasn't extremely sad and depressed on new year's day, maybe flying back to my current home, going back to school with tons of homework due or the stress of a new season of ballet, post-nutcracker and post-holidays and post-fun. I know part of the reason was that I really had no holiday break, which is a little sad, but I still had a lot of fun having little parties with my friends between shows. I will have to think about my goals for the year as I recooperate in the next few days...

Happy New Year!

Janie