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{{Short description|Act of staging or presenting a form of entertainment}}
{{other uses}}
[[File:Don Quijote de La Mancha, Teresa Carreño Teather.jpg|thumb|300px|A stage performance of ''[[Don Quixote (ballet)|Don Quixote]]'' at the [[Teresa Carreño Cultural Complex]] in [[Venezuela]] (2013)]]
A '''performance''' is an act or process of staging or presenting a play, concert, or other form of entertainment
== Management science ==
In the work place, job performance is the hypothesized conception or requirements of a role. There are two types of job performances: contextual and task. Task performance is dependent on cognitive ability, while contextual performance is dependent on personality.<ref>{{cite book|author1=Ivan T. Robertson|author2=Cary L. Cooper|title=Personnel Psychology and Human Resources Management: A Reader for Students and Practitioners|url=https://books.google.com/books?id=M5MtBgAAQBAJ&pg=PT24|date=12 January 2015|publisher=Wiley|isbn=978-1-119-09060-1|pages=24+}}</ref> Task performance relates to behavioral roles that are recognized in job descriptions and remuneration systems. They are directly related to organizational performance, whereas contextual performances are value-based and add additional behavioral roles that are not recognized in job descriptions and covered by compensation; these are extra roles that are indirectly related to organizational performance.<ref>{{cite book|author=Paul R. Martin|title=IAAP Handbook of Applied Psychology|url=https://books.google.com/books?id=XjC4z2NFOIYC&pg=PA240|date=1 March 2011|publisher=John Wiley & Sons|isbn=978-1-4443-9514-3|pages=240+}}</ref> [[Organizational citizenship behavior|Citizenship]] performance, like contextual performance, relates to a set of individual activity/contribution (prosocial organizational behavior) that supports
== Arts ==
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An effective performance is determined by the achieved skills and competency of the performer, also known as the level of skill and knowledge. In 1994, Spencer and McClelland defined competency as "a combination of motives, traits, self-concepts, attitudes, cognitive behavior skills (content knowledge) that helps a performer to differentiate themselves as superior from the average performer".<ref name="ShippmannAsh2000">{{cite journal|last1=Shippmann|first1=Jeffery S.|title=The Practice of Competency Modeling|last2=Ash|first2=Ronald A.|last3=Batjtsta|first3=Mariangela|last4=Carr|first4=Linda|last5=Eyde|first5=Lorraine D.|last6=Hesketh|first6=Beryl|last7=Kehoe|first7=Jerry|last8=Pearlman|first8=Kenneth|last9=Prien|first9=Erich P.|last10=Sanchez|first10=Juan I.|journal=Personnel Psychology|volume=53|issue=3|year=2000|pages=703–740|issn=0031-5826|doi=10.1111/j.1744-6570.2000.tb00220.x}}</ref> A performance also describes the way in which an [[actor]] performs. In a solo capacity, it may also refer to a [[mime artist]], [[comedian]], [[Evocation|conjurer]], magician, or other entertainer.
== Aspects of
Another aspect of performance that grew in popularity in the early 20th century is [[
The emergence of [[
At the [[New School for Social Research]] in New York, [[John Cage]] and [[Allan Kaprow]] became involved in developing [[
[[Valie Export]], an Austrian artist born Waltraud Lehner, performed "Tap and Touch Cinema" in 1968. She walked around the streets in [[Vienna]] during a film festival wearing a styrofoam box with a curtain over her chest. Bystanders were asked to put their hands inside the box and touch her bare chest. This commentary on women sexualization in film focused on the sense of touch rather than sight.<ref>{{Cite web|url=https://www.theartstory.org/artist/export-valie/|title=VALIE EXPORT Art, Bio, Ideas|website=The Art Story|access-date=2019-11-24}}</ref> [[Adrian Piper]] and her performance Catalysis III (1970) featured the artist walking down [[New York City]] streets with her outfit painted white and a sign across her chest that said "wet paint." She was interested in the invisible social and racial dynamics in America and was determined to encourage civic-mindedness and interruption of the system.<ref>{{Cite web|url=https://morethanthreeartists.wordpress.com/2015/09/07/adrian-piper-performances-and-activism/|title=Adrian Piper: Performances and Activism|last=kelseymt|date=2015-09-07|website=More Than Three Women Artists|access-date=2019-11-24}}</ref><ref>{{Cite journal|last=Smith|first=Terry|date=September 2011|title=Currents of world-making in contemporary art|journal=World Art|volume=1|issue=2|pages=171–188|doi=10.1080/21500894.2011.602712|s2cid=191639109|issn=2150-0894}}</ref> [[Carolee Schneemann]], American artist, performed Interior Scroll in 1975, where she unrolls Super-8 film "Kitsch's Last Meal" from her genitals. This nude performance contributes to a discourse on femininity, sexualization, and film.
== Performance state ==
[[File:Deep Purple - MN Gredos - 01.jpg|thumb|300px|English rock band [[Deep Purple]] performing in [[Hoyos del Espino]], [[Spain]] (2013)]]
Williams and Krane define the
* Absence of [[fear]]
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=== Stage fright ===
[[File:Kristin Chenoweth singing National Anthem at Yankee Stadium.jpg|120px|thumb|right|[[Kristin Chenoweth]] performs the national anthem of the United States at a [[baseball]] game.]]
Theatrical performances, especially when the audience is limited to only a few observers, can lead to significant increases in the performer's heart rate. This increase takes place in several stages relative to the performance itself, including anticipatory activation (one minute before the start of subject's speaking role), confrontation activation (during the subject's speaking role, at which point their heart rate peaks) and release period (one minute after the conclusion of the subject's speech).<ref>{{cite journal|last1=Baldwin|first1=Sandra|title=Effect of Speakers' Sex and Size of Audience on Heart-Rate Changes During Short Impromptu Speeches|journal=Psychological Reports|date=1980|volume=46|issue=1|pages=123–130|pmid=7367532|doi=10.2466/pr0.1980.46.1.123|s2cid=20025236}}</ref> The same physiological reactions can be experienced in other mediums such as instrumental performance. When experiments were conducted to determine whether there was a correlation between audience size and heart rate (an indicator of anxiety) of instrumental performers, the researcher's findings ran contrary to previous studies, showing a positive correlation rather than a negative one.<ref>{{cite journal|last1=Studer|first1=Regina|title=Psychophysiological Activation During Preparation, Performance, and Recovery in High- and Low-Anxious Music Students|journal=Applied Psychophysiology and Biofeedback|date=2014|volume=39|issue=1|pages=45–57|doi=10.1007/s10484-014-9240-2|pmid=24477850|s2cid=43418025|url=http://doc.rero.ch/record/325600/files/10484_2014_Article_9240.pdf}}</ref>
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* [[Circus (performing art)|Circus]]
* [[Entertainment]]
* [[Executive functions]]
* [[Opera]] ([[operetta]])
* [[Performativity]]
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{{Reflist}}
==
* Bell, B.S., & Kozlowski, S.W.J. (2008). Active learning: Effects of core training design elements on self regulatory processes, learning, and adaptability. Journal of Applied Psychology, 93, 296–316.
* Fadde, P.J., & Klein, G.A. (2010). Deliberate performance: Accelerating expertise in natural settings. Performance Improvement, 49, 5-15.
* Freeman, S., Eddy, S., McDounough, M. et al. (2014). Active learning increases student performance in science, engineering, and mathematics. PNAS, 111, 8410–8414.
* Gagne, R.M. (1962). Military training and principles of learning. American psychologist, 17, 83–91.
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