Performance killer No. 1 is the hormone adrenaline that the body releases in dangerous situations. The entire system switches to survival mode: the fine motor skills are blocked, the gross motor skills are activated, thinking narrows to a tunnel view, creativity no longer works, the body contracts.

Nervousness on stage is normal and we need an increased adrenaline level to be able to perform at our best. Yet an excess of adrenaline, which cannot anymore be reduced on stage, is harmful.

In the coaching, numerous techniques are being taught to keep the adrenaline at an optimal level.

Athletes describe high-performance states as a combination of physical activity and deep inner silence. This relative absence of thinking allows the motor system to fully exploit the learned motor skills without being interfered by the talking system.

So learning mental flow states is the second pillar of stage fright coaching. These techniques bring the brain into an optimal state of clarity and focus and are the basis for numerous mental exercises that prepare for upcoming performances or auditions.

As a useful side effect, one of the most important self-management techniques is learned, which also in everyday life ensures a high ability to concentrate and helps to deal masterfully with the prevailing flood of information.

Even if you as a musician do not suffer from stage fright, the techniques learned can enhance your performance on stage. They provide the 3-4 % better concentration and well-being, which may then decide an audition.

In rare cases, there is a biographical burden, trauma or inner conflict behind a stage fright problem. Usually, the effect of mental techniques is limited in these cases. If desired, it is possible to work on these burdens in order to dissolve or mitigate them.