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Essay on performance anxiety
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After Sky told me I will be performing live, I went in front of a mirror and begin dancing around to see if I look sexy. I mean, I know I can dance around and do some moves, but never have I dance sexually or tease a man before while dancing to a sexual song. This is definitely a new experience that I will be encountering. I was able to find some new moves while dancing in front of a mirror that I can use tonight to perform. The fact that Nino told Sky I will be dancing last, really made me feel even more upset, because Nino would rather force me to strip in front of niggas then to have a relationship with him. I wonder if his mother knows where he sent me. Does he even tell his mother everything he do? The fact that he’s a cold blooded killer …show more content…
What do I say next? What do I say so that we both won’t end up arguing with each other? There’s so much things I want to say to him, but the fact he placed me here he’s probably testing me. Testing me to see if I’m okay with his world, or he could just be punishing me, or he could really be done with me and just leave me here forever until his dead. “That’s nice to hear.” I told him. I kept it nice and simple. I didn’t want to argue with him, if anything I want to resolve this problem with him. “So that’s how it is then?” He asks me. “What you mean?” I play dumb. “You acting like we strangers. I’m surprise you not calling me by my real name.” Nino chuckles and I stay quiet over the line. “You must be piss that I have you performing tonight.” I can tell what he’s doing. Nino is trying to test me; he wants me to get piss at him. He actually wants a reaction out of me. “Actually, I’m okay with that. I made a mistake, because I’m only human right? So I got to own up to my shit.” I respond to him. I didn’t yell at him; I know he must be shock by my response. “That money you’ll be making is all mine alright?” “Yup, anything else?” I mention before I hang up on his ass. “You not allowed to fuck any niggas. They can watch all they want, but no touching at all. I’ll be watching so you better perform good so I can see if I should keep
Logan has been acting up since I arrived. He keeps trying to go in the kitchen and get juice after Miss Orbach has told him several times he can have juice with dinner but right now he has to have water. He kept screaming that he was thirsty. Miss Orbach explain to him that this isn't going to do anything but make him thirstier and that's why he should have water.
Scheller danced well as Sanguinic this afternoon (though I thought I saw her take a tumble in the finale--since no-one else has mentioned it, I'm a little puzzled.) Mearns dancing Sanguinic Friday gave a more powerful and sharply etched performance. Scheller is a 'gentler' dancer but her dancing seems very straightforward and unaffected which I admire. I also remember her as creamy smooth in Who Cares. At curtain calls, she was warmly applauded by the entire cast, received two bouquets, and also took a solo bow--rather to the puzzlement, I believe, of at least a few members of the D.C. audience.
“ Yeah, it was good,” my brother smiled proudly. The responsibility lecture washed over me and before I knew it, I was freaking out.
Im Tumbling and I don't know where I am or what happened. Where am i going? As i'm tumbling i am trying to find myself and where i am. I cant get any grip and im feeling a burning sensation. I have no clue where i am. How did i end up like this?
In the midst of the South Bronx’s structural decline and disregard from neighboring boroughs and politicians, cultures, traditions, lifestyles and music from the South Bronx’s diverse population merge to birth new artists and art forms. In the episode Raise Your Words, Not Your Voice, Baz Luhrmann’s visual design not only demonstrates the coming of age of six young people of color, but also the transformation of hip-hop and the South Bronx. Ezekiel "Zeke" Figuero, Shaolin Fantastic, Ra-Ra Kipling, Marcus “Dizzee” Kipling, Boo-Boo Kipling, and Mylene Cruz navigate gangs, politicians, and
I did feel sort of sorry I said it.” (134). , he quickly gives up: “I stuck around for a while, apologizing and trying to get her to excuse me, but she wouldn't. She kept telling me to go away and leave her alone.
As humans we are afraid of expressing our inner emotions and opinions, constantly hiding in the shadows of our peers trying to escape the harsh reality that may fall from their lips. It's quite alarming to me seeing adults capable of their own thoughts and opinions to change their perspective because of what their neighbor said. It takes a lot of courage to go out in front of a crowd of two hundred plus people and express your feelings, and that's exactly what this 17 year old girl did. The people, place, and the lyrical dance, was all a recipe for a revitalizing new perspective. There was heavy overcast in the sky above, wet, with a cold sensation that sends shivers down your spine making goosebumps emerge on your skin underneath your lightweight jacket.
Amherst is never dark. And it scares you. There’s a weird feeling in your stomach, the one where it feels like something is gnawing away at it and it makes you sick. Your head is starting to pound right above the right temple. Your feet and knees are fine, however, and so you trail behind your friend as they twirl in their red skirt down the way.
I had my first dance recital on the day I turned four. Now I don’t remember anything from that day, but I believe that that day is when I learned I loved to perform. I’ve been taking dance lessons since then, and many things that I do now involve performing in some type of way.
I didn't see Evie’s face since all the girls also went to the 'barre' to do 'plies'. Sarah knows her terminology. She decided to stay and watch because apparently she wanted to confront her close friend Genevieve Chase as to why she was never told of Evie having a boyfriend. When the girls in class turned to face the window, I gotta glimpse of unmistakeably stormy grey eyes.
A Wednesday matinee, nonstop rain, many empty seats at the Met, an audience that did not know when to applaud, and didn't seem to care about applauding, either . . . Multiple elements combined to prevent today's Lane-Simkin Giselle from reaching the top-drawer level of last year. That breathless, edge-of-the-seat astonishment which was palpable at Lane's debut performance was missing today. And while a rainy day can put a damper on anything, an electric performance on stage should be able jolt a sleepy, apathetic audience utterly awake.
Reluctantly, I stepped out of the car and onto the dirt ground. Being only ten years old, I expected little of that day, and swore to myself that I would not enjoy the powwow. My mother and father, who held my hands as we walked, assured me that I would have fun, and possibly learn something as well. Doubt hung heavy over my head, but I said nothing.
During my dancing career, I have had many memorable opportunities such as performing a number of times at Saddlers wells theatre and at her Majesty’s theatre for Mardi Gras with my dance school Gemini Dancers. Performing at such prestigious venues, I acquired confidence and a love for preforming. Dancing in front of such large crowds no longer phases me, as when I was a young child I was very shy and would never imagine doing such a thing. Dance has allowed me to overcome my shyness and break down any barriers I previously had. I have also been able to raise money for charity through dance.
When discussing the poetic form of dramatic monologue it is rare that it is not associated with and its usage attributed to the poet Robert Browning. Robert Browning has been considered the master of the dramatic monologue. Although some critics are skeptical of his invention of the form, for dramatic monologue is evidenced in poetry preceding Browning, it is believed that his extensive and varied use of the dramatic monologue has significantly contributed to the form and has had an enormous impact on modern poetry. "The dramatic monologues of Robert Browning represent the most significant use of the form in postromantic poetry" (Preminger and Brogan 799). The dramatic monologue as we understand it today "is a lyric poem in which the speaker addresses a silent listener, revealing himself in the context of a dramatic situation" (Murfin 97). "The character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life. The circumstances surrounding the conversation, one side which we "hear" as the dramatic monologue, are made by clear implication, and an insight into the character of the speaker may result" (Holman and Harmon 152).
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”