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Did Orpheus have stage fright? To oneself, to the other, to the transcendent: steps for coping with music performance anxiety

Natalija Šimunovič

Frontiers in Psychology December 17, 2025 DOI: 10.3389/fpsyg.2025.1706198 (opens in new tab)

Study at a glance

AI-extracted from the abstract
Characteristics Theoretical or philosophical paper Peer reviewed
Topics Anxiety Meditation
Keywords Performing arts Musical Consciousness Analogy Coping psychology Dance Empirical research Cognitive psychology Aesthetics Classical music Demonstrative Creativity Empirical evidence Magic telescope Cognitive science
Key points Argues that the Orpheus myth functions as an archetypal model for the conflict between artistic intention and the performer's inner tension, a conflict partly captured by stage fright and music performance anxiety (MPA). Notes that empirical research often associates MPA with impaired stage performance.

Abstract

Orpheus, as an archetypal model of musical performance, enters our cultural consciousness not only as an exemplary performer but also as a figure whose fleeting glance into the visible shattered the magic of creation. Through this metaphor, for three millennia we have (re)interpreted the deeper projection of the conflict between the artistic idea and the performer's inner tension (Partridge, 2014;Blanchot, 1981). The performer's inner tension is partly framed by the constructs of stage fright (Steptoe, 1989) and music performance anxiety (MPA) (Kenny, 2011), which empirical research often links to impaired stage performance (Chan, 2011).

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