Self-Criticism As Experienced by Performing Artists a Phenomenological Study
Total Page：16
File Type：pdf, Size：1020Kb
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2001 Self-Criticism as Experienced by Performing Artists a Phenomenological Study Rosemary Hakes Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Art Education Commons, Counselor Education Commons, Experimental Analysis of Behavior Commons, and the Psychological Phenomena and Processes Commons Recommended Citation Hakes, Rosemary, "Self-Criticism as Experienced by Performing Artists a Phenomenological Study" (2001). Dissertations. 1366. https://scholarworks.wmich.edu/dissertations/1366 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. SELF-CRITICISM AS EXPERIENCED BY PERFORMING ARTISTS A PHENOMENOLOGICAL STUDY by Rosemary Hakes A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Counselor Education and Counseling Psychology Western Michigan University Kalamazoo, Michigan June 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. SELF-CRITICISM AS EXPERIENCED BY PERFORMING ARTISTS: A PHENOMENOLOGICAL STUDY Rosemary Hakes, Ph.D. Western Michigan University, 2001 The purpose of this study was to describe and document the essence of the experience of self-criticism for performing artists with the aim of providing recommendations for educational and therapeutic purposes. Moustakas (1994) defines essence as “that which is common or universal, the condition or quality without which a thing would not be what it is” (p. 100). In this study a phenomenological research paradigm was used. Each step in the data reduction process built directly toward revelation of essence through synthesis. The central question guiding this research was: What is the essence of self- criticism as it is experienced by performing artists? Two related subquestions were: (1) What possible underlying themes and contexts account for the experience of self- criticism? and (2) What are the possible structural meanings of the experience of self- criticism? The six participants in this study were professional performing artists: four principal dancers, one choreographer and dancer, and one musician (who was the principal in an orchestra section). All of the participants were British and were under contract with the Royal Opera House and Royal Ballet at Covent Garden in London, Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. England. The research strategy for this study used 90-minute in-depth individual telephone interviews. The findings, which identified self-criticism as (a) losing confidence, (b) being afraid, (c) a pattern of thinking, and (d) an unending experience, are the essences common to the participants’ experiences of self-criticism. These findings suggest potentially important attitudes and directions to be taken by both clinicians and teachers who work with professional performing artists and performing arts students. The findings are discussed in relation to how they can guide future research. These include: communicating to performing artists in a clinical context the perpetual, self-regulatory purpose of self-criticism; identifying and challenging the pattern of thinking associated with self-criticism; and recognizing not only the fear, but also the courage involved in performance. In an educational or training context, the attitudes and directions indicated by the findings of this study are to support students’ confidence by (a) providing specific and detailed feedback, (b) balancing critical with noncritical comments, and (c) encouraging student self-awareness of strengths in performance. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3017313 Copyright 2001 by Hakes, Rosemary Ann All rights reserved- __ ___ (g) UMI UMI Microform 3017313 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Rosemary Hakes 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I am grateful to the performing arts students I have taught over the years. Teaching is becoming a passion of mine, partly because teaching is such an extraordinary opportunity for learning. The idea for this dissertation came from the seminar classes I have taught on the psychological aspects of arts performance. My doctoral internship in Counseling Services at the Interlochen Arts Academy also afforded me an opportunity to define my clinical work with young performing arts students. I am grateful to Dr. Nancy Rosenau, Dr. Candace Ross, and Dr. Halimatun Mohktar for their nurturing support and for their gift of genuine understanding. This dissertation was discussed and refined in consultation with members of my doctoral committee. I would especially like to thank Dr. John Geisler for his support, assistance and advice, which was invaluable. Finally, I appreciate the extraordinary generosity shown to me by the six performing artists who participated in this study. I am grateful for their honesty and for allowing me learn from their experiences. Rosemary Hakes ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS.......................................................................................... ii LIST OF TABLES...................................................................................................... vii LIST OF FIGURES....................................................................................................... viii CHAPTER L INTRODUCTION............................................................................................... 1 Phenomenological Research Method.......................................................... 3 Purpose of the Study.................................................................................... 6 Research Questions...................................................................................... 6 Definition of Terms...................................................................................... 6 Scope o f the Study........................................................................................ 7 Summary........................................................................................................ 7 H. REVIEW OF THE RELATED LITERATURE............................................... 9 Introduction.................................................................................................... 9 Overview ...................................................................................................... 10 Psychological Literature on Self-criticism................................................ 11 Treatment....................................................................................................... 17 Self-criticism and Giftedness...................................................................... 19 Self-criticism and Creativity....................................................................... 21 Self-criticism and Training in the Arts...................................................... 21 Reproduced with permission of the copyright owner. Further reproduction prohibited without