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Feel a sense of identity with the audience. If you are nervous about performing in front of a large crowd. You can visualise the audience as just one person who is yourself. When you play on your own you feel no nervousness. But if you feel there are a 1000 people out to judge you then naturally you will feel nervous. However if you develop a sense of oneness with the audience you will not feel this separation and therefore nervousness. Sri Chinmoy suggests:

“If you see many people watching you, naturally you become nervous. You feel that they are judging you or criticising you. But if you take all of them as yourself, then you will not be nervous.”

Cultivate equanimity and detachment. The inner nature of our soul is peace and equanimity. If we can bring this inner poise to the fore we will not feel nervous. To develop our inner poise we should learn not to place all emphasis on the result and outcome. We should feel that we will do a task as best we can, but whatever the result we shall retain a calm detachment. Remember this saying of Thomas Jefferson:

“Nothing gives a person so much advantage over another as to remain always cool and unruffled under all circumstances.”

Smile and Laugh. When we are nervous we get very tense. Smiling helps to release the mental and physical tension we feel.

 Meditation. Through meditation we can create a permanent sense of inner peace, which acts as a soothing background for all outer circumstances. Meditation is the art of quietening the mind and bringing the inner peace of the soul to the fore. When we increase our meditative capacity we will find our nervousness disappears.

Don’t dwell on the object of concern. Try to find something to take your mind off it. If you have an exam the next day. Don’t spend all night thinking about it.

Many people feel very nervous when it comes time for them to present a speech or public performance. Quite frankly, it is amazing that this phenomenon is so prevalent. To overcome these fears, perhaps an examination of reality will help to gain a new perspective on the art. First, if you are fortunate enough to have the opportunity to speak or perform before a large audience, you should remember that everyone sitting in the crowd has come to hear what YOU have to say.

It does not matter at all what you will be telling them, good or bad, because someone has given you permission to express whatever is on your mind. If the audience does not like what you tell them, they can heckle or leave, but it is a pretty sure bet they will not demand to come up and bump you from your position to express their own opinion, because they are too afraid to do it themselves. You should remember that you have agreed to speak your mind, give your opinions, or share your expertise, and the worst thing that can happen for doing it is that the audience will not appreciate what you say. If you allow others to sway or change your mind about your own convictions, you probably should not have been invited to speak with authority in the first place.

Here is a perfect example to illustrate my point. While working as a technical instructor for a well known software company, I was presenting information that I was being paid by the company to relate to the class. About half way through the first day of class, I discovered that there were a number of students who were so disappointed with the information they were receiving, they simply decided to leave the class. I was not given an opportunity to address their concerns or respond to any of their issues; they simply walked out during the break period. Before the class resumed, I was informed by someone that these people had left in a huff, and that I needed to take appropriate steps to regain control over the remaining students, because they were all buzzing about the incident.

When the class resumed, I could tell the remaining participants had lost respect for my role as instructor, and were not prepared to show me appropriate courtesy when I regained the floor. I had truly lost their willingness to connect with what I had to say. To counter this situation, I told the class there were some changes that needed to be made before the next session resumed. I confessed that I was aware there were a number of students who had opted to leave the course for reasons they did not care to share with me, so we would be trying a different approach, in case there was anyone still present who did not appreciate the presentation format. For the next chapter of information, instead of presenting the information in lecture format, we would be playing a game I called “Stump the Professor.” I divided the room into two separate teams whose objective was to take some time for each team to study half the material assigned to them in the next chapter. At the end of the study period, each team would elect a spokesman from their group who would be responsible for presenting the information from the material to the opposing team.

In this exercise, points would be awarded for skill in presentation by the apposing teams, and additional points added or subtracted from the presentation by me as the moderator for how accurately the information was presented. The class jumped at the chance to better me. The energy level of the room went up significantly as the teams competed with each other to best my style. Presentations were made, critiques given, points tallied, and one team was awarded overall best in delivery. When the laughter, applause, and excitement of this first round of “Stump the Professor” had ended, I called upon the class to make another decision. I told them we could go forward with the learning process using this game format, or return to allowing me to exclusively present the information to them. Calling this issue to a vote by show of hands, the class voted by a margin of everyone else to one that I continue to present the remaining information myself.

For the students who stayed the course, my approval rating was very high in their evaluation of my presentation. I had regained their respect using the simple mechanism of putting them in my shoes and allowing them to go for it. This will hopefully show you that presentation is not a matter of how poorly or well you do at delivering your topic, it is merely a matter of how skillfully you capture the respect and attention of your audience. If you do fail, just pick up and move on to the next, because you are the one they paid to hear.

Are you nervous? If so, does that mean you're anxious, or that your hands shake? The distinction can be crucial.

Asked if they feel nervous, some people respond by holding up their unshaking hands, watching them a few seconds and saying, "I don't think so. They look steady to me!" This unexpected answer illustrates the confusion many people have about anxiety, tremors, and what they have to do with each other.

A psychiatrist friend proposed a useful labeling system. He refers to internal states of anxiety, worry and upset as "inner nerves." By contrast, when outward, visible tremulousness is present, he calls that "outer nerves." The distinction is important because the causes and treatments of "inner nerves" and "outer nerves" are almost entirely different from each other.

It's not hard to see where the confusion arises. Most people with tremulousness experience worsening of their shaking in states of high emotion, like anger, fear?-or even joy. They notice improvement in tremor when they are feeling unstressed, and their companions see their tremoring disappear completely when they sleep. Yet, it's not the emotional states that caused the tremor. Instead, the emotions just increased or decreased a tremor that was already there for another reason.

Although tremor can occur in almost any part of the body, shaking of the hands is most common and can be caused by a variety of conditions. Tremors can also vary in their appearance, and the appearance of the tremor can narrow down the list of possibilities.

Here are the three basic tremor patterns:

1. Tremors most evident while the hands are at rest. A typical situation is that the hands shake worse while in the person's lap than while in the air or when put to use. This pattern is seen most often with Parkinson's disease or with medications that can produce a Parkinson-like condition, including most antipsychotic and anti-nausea drugs.

2. Tremors most evident with the hands held in the air. (A related pattern involves tremor maximal when the hands are put to use, for example, to write a letter or hold a cup of water.) This pattern can be seen on an inherited basis, with an overactive thyroid gland, with certain medications (including drugs for asthma, seizures or manic-depressive illness) and for no good reason at all (called essential tremor).

3. Tremors that worsen when the moving hand approaches a target, for example, to pick up a pencil or scratch one's nose. This relatively uncommon pattern is seen with damage to the part of the brain known as the cerebellum, located in the back of the head.

To the extent that the underlying problem can be fixed, the tremor will usually improve as well. So if someone's tremor is due to an overactive thyroid, the tremor will improve when the thyroid problem is corrected. If a tremor is due to Parkinson's disease, then it will get better with medication for this condition. And if medication itself is causing the problem, then a dose-reduction or substitution of another drug might do the trick.

What if an underlying cause is not found, or correction of an underlying problem doesn't make the tremor go away? Treatment might still be available. In the case of tremors most evident with the hands in the air, certain medications might provide meaningful improvement, including primidone (brand name Mysoline), propranolol (Inderal), metoprolol (Lopressor) and gabapentin (Neurontin).

People with anxiety (inner nerves) respond best to anxiety-relieving medications and counseling. But medications that relieve anxiety do not help tremors (outer nerves) much, except to the extent that they make the patient drowsy. This is because all tremors improve with drowsiness. However, being perpetually drowsy is not a favorable trade-off for controlling tremor.