Breaking Out of Comfort Zones
Some artists seem to have never struggled with self-confidence. They've never felt constrained by inhibitions or confined by 'rules.' They take artistic risks and push the boundaries of interpretation and style. They thrive in the spotlight.
And then there is the majority. They wrestle with self-doubt and fears of inadequacy. They wonder if what they have on the inside is worth sharing with others - with strangers, in fact. They prefer to play it safe... because 'safe' has already been tried and because 'safe' doesn't seem to carry with it the same risks of criticism, misunderstanding, etc..
Popular wisdom contends that in order to find out who we truly are we must go way out beyond the edges of our comfort zone. For some individuals, simply setting foot in a voice studio for the first time is more than enough to create in them uncomfortable feelings such as vulnerability and panic. They do it, anyway. They do it because they understand that stepping outside of their comfort zones will lead to personal growth and is the only way to achieve their goals and make their dreams happen.
There are those who are already performing but are still playing it safe (e.g., with choice of repertoire, vocal range, style, vocal effects, etc.). Perhaps they are being limited by their underdeveloped technique. Or perhaps they are stagnating as artists - technically capable of painting with a much broader spectrum of colours and textures but failing to use many of those colours for fear that the resulting work of art will not be well-received by the listening audience. They may, in fact, have an undeveloped sense of who they are as vocal artists, (which is not the same as knowing who they are as vocal technicians). 'Safe' is the waiting room in which they sit while trying to find themselves and 'experimentation' is the magazine that they peruse with great interest... but promptly return to the magazine rack when their names are called. Rather than becoming excited at the grand ballroom of possibilities that trying something new and scary can open up, the singer may convince himself/herself that the door may merely open up to a janitor's closet.
With all the e-mails and personal messages that I receive from singers around the globe who are at varying stages in their vocal development and careers, I feel as though I've been able to get a fairly comprehensive look at the psychology of singing. Many singers feel trapped in their comfort zones, unable to break free because their thinking has remained unchallenged and unchanged. Whether it was a negative reaction to their singing early on, a cruel teacher with inflexible ideas about what a voice should sound like, introversion or shyness, etc., we are all products of our hardwiring (e.g., personalities), cultures, and cumulative experiences. While no two singers or their backgrounds are alike, there are some commonalities that many share when it comes to moving outside their comfort zones.
That's the funny thing about artists. We tend to be highly sensitive (and sometimes insecure) people. When we receive negative feedback about our latest creation, it hits us right in the heart and soul of who we are because that external work of art is a reflection of who we are on the inside - of what we have to offer the world. Poor reviews have the potential to destroy us on the inside because we allow them to hold so much clout (influence) when it comes to our self-worth. Likewise, when our song or performance receives rave reviews, we are elated - overjoyed because this culmination of all our time, hard work and creative energies has received confirmation that it is indeed 'good.' And for the professional vocalist, this feedback, whether positive or negative, is critical. After all, we do not sing only for ourselves. Our audience, which purchases our music and tickets to our shows, is our bread and butter and a good part of the reason why we work so hard to master our craft and mold our creativity into something that pleases. (Of course, we do also sing for the intangibles that we receive out of the act, such as personal and artistic satisfaction, positive emotional and physical benefits, intimacy and connectedness with the One being worshipped, etc..)
So, how does the singer break out of his/her comfort zone as a vocal artist? The following are exercises that I've borrowed from the method acting classes that I teach and that I use in my voice studio.
In your imagination, venture to a place that I like to call the "Magic What If Land." In this place, anything can happen. There are no expectations of proper conduct. There are no rules to follow, and therefore no rules to break or consequences for breaking them. There is no audience to judge the sounds that you make, and you are completely free to be whatever it is you have the potential to be. Now ask yourself:
What if you were a Neanderthal or wild animal, grunting and communicating merely with primal sounds and body language?
What if you were that other singer whose voice is so unrestrained in its ability to convey emotion (yet controlled at the technical level)?
What if you were to exaggerate the natural qualities of your voice or be overly dramatic in your expression and phrasing?
What if you were a voice over artist, relying solely on your voice to build a character, convey intention, etc.?
What if, while in the privacy of your practice space, you were to make a sound that is aesthetically offensive to your own ears? With no one listening, what would the risk be (any vocal health concerns aside)?
What if you were to sing that higher-than-your-usual-high note without flinching - without squeezing and otherwise throttling the sound? What if you were to sing it like a Gospel diva or call up your inner operatic tenor or soprano, just for fun? What if your voice soared freely?
What if you were to try singing that song that you are convinced doesn't really suit your voice, but sing it like it does?
What if you absolutely hated the experimental sounds coming out of your mouth? What harm resulted from making a sound that you didn't like?
What if you loved the new sounds or could hear their potential for becoming practicable (viable)?
Oftentimes, how far you venture outside of your comfort zone depends on how safe you feel making unpleasant, unmusical, off-key, unfamiliar sounds. (This is why I always encourage singers to carve out a space for their practice times where they can feel free to vocalize without worries of disturbing anyone else or making embarrassing sounds.) If you are willing to shake off all inhibitions in a private setting and take your singing into uncharted territory - to places where it will likely never need to go in a public performance - you'll be able to strike a healthy and artistic balance between the two extremes of inhibition that makes for a very uninteresting vocal performance and poor musical taste with a lack of refinement in your performance.
One exercise that can help singers break out of their comfort zones is listening to another singer whom they enjoy and breaking down one of their songs into its individual vocal lines. Line by line, the singer would copy (mimic) the sounds, the dynamics, the 'textures,' etc. of the other vocalist. This may not ultimately be how the singer will choose to colour those vocal phrases to make the song his/her own, but it is an exercise in making sounds or qualities that he/she would otherwise not make because he/she hasn't yet explored them. Very often, singers are surprised that their voices can actually make those sounds and be as expressive as those other singers whom they admire.
Some of us will never be the type to voluntarily jump out of a plane and plummet to the earth at terrifying speeds trusting only in the safety of the nylon parachute strapped to our backs - trusting that it will open (not malfunction) and carry us safely to the earth far, far beneath us. And we will not be able to breathe a sigh of relief until the ordeal is over and the adrenaline has started to wear off. Riskiness is a matter of one's perspective and one's experience level, however. The veteran skydiver, acknowledges the risks associated with skydiving, but makes preparations (e.g., checking his/her parachute) prior to jumping, and therefore keeps the risks to a minimum. He/she experiences the exhilaration of falling through the clouds and viewing the world from a unique vantage point. The rookie jumper, on the other hand, might be so overwhelmed with fear that he won't experience the exhilaration until after his feet are on solid ground. For this reason, the new singer or relatively new performer should remember the following:
Tether yourself to something solid first, before stepping out on that limb. The most solid foundation that a singer can build is a consistent, effective technique. Having a consistent technique that enables you to make the sounds that you desire generally leads to having more confidence that the voice will 'cooperate' when it matters most, which in turn will relieve most nerves.
Don't take unnecessary or uncalculated risks. When I was an elite gymnast learning a new skill on the balance beam, I started first by practicing that skill on a line on the floor. Then, I moved to a wider, slightly elevated surface (a practice beam), gradually reducing the amount of mats and other devices of protection. In some cases, I involved my coach, who would 'spot' me and ensure my safety. Only when I was confident that I was ready did I perform the skill unassisted with the beam raised to Olympic height. A new skill was not considered 'competition ready' until it was being landed consistently in practice. There were no guarantees that I wouldn't still fall off the beam in front of the judges and audience at a competition - a mistake that would have cost me several points and likely any shot at an all-round medal - but by ensuring that I had properly prepared myself, that risk was greatly reduced. If you do not feel as though a particular skill or sound is performance ready, keep it in the studio or practice room until it is. There is a difference between stepping out of one's comfort zone and stepping off a curb into a busy street.
Do all of your requisite 'noise making' in the studio or practice space, not on the stage. The stage is not the place to try out a new sound for the first time. It is the place to skillfully present that new sound. All experimentation should happen during the singer's practice sessions. What you present to the audience should be a polished, confident sound, even if that sound is unconventional or unique.
The more performances you have under your belt, the more comfortable you will feel being in front of an audience.
On the June 29, 2015 episode of So You Think You Can Dance, team leader Twitch counselled a dance contestant who was having a crisis of confidence at the Las Vegas round of auditions. He told her, "Whether it goes well, or whether it doesn't, you owe it to yourself to have this experience." The same is true of singers. Whether it is an audition, a performance or a new sound, you must find it in you to take that leap of faith at some point. As an (aspiring) artist, you owe it to yourself to take that experience, run with it and see where it leads you.