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다국어 초록 (Multilingual Abstract)

Abstract
Fashion performance is an art that conveys emotions and shows life by
shaping images through human expressions and body movements. The
essence of fashion performance is that the performer memorizes and
understands the music and fashion works, go through the necessary training
of performance ability and body function, he/she then performs the
secondary processing of the intrinsic of the fashion and uses the brain nerve
to control the body's local or partial muscles, and finally makes the fashion
show in a more perfect form. Only when the performer adjusts his/her body and mind to the best condition, together with repeatedly studying the design
concept of the fashion and the inner meaning of the fashion before the
performance, and deeply understanding the content of its emotional
expression, can he/she convey it to the audience through the performer's
body and expression.
The researcher has been a professional model for four years and
experienced the process from low self-esteem to self-confidence, and anxiety
and nervousness before going on stage when learning the profession. In
more than twenty years of experience of being a teacher of fashion
performance, I can feel the slow progress of learning caused by the poor
psychological state of students during their study period, and they cannot
perform at their normal level during examinations, in stage performances,
and competitions and cannot enjoy the fun of on-stage performance. In order
to help fashion performance students to get out of the shadow of
psychology and to put their professional ability in learning and performance
in full play, the researcher reviewed psychology, art class psychology, music
performance anxiety, and other related literature and use that as theoretical
support, To explore the differences in fashion show performance anxiety,
anxiety coping and self-confidence of fashion performance majors with
different gender, grade, performance time and performance frequency, and to
analyze the impact of performance anxiety and anxiety coping on
self-confidence of fashion performance majors. and made suggestions to
adjust their psychological state.
The study was conducted by means of an anonymous questionnaire, and
230 questionnaires were collected from three universities in Hubei Province
with a major in fashion performance, of which 210 were valid, with a valid
return rate of 91%. The questionnaires consisted of three questionnaires: the Fashion Performance Anxiety Questionnaire, the Fashion Performance
Anxiety Coping Questionnaire, and the Fashion Performance Confidence
Questionnaire, respectively. Data analysis of the questionnaires was
conducted using SPSS 26.0. The main results are as follows:
There was no significant difference between male and female students in
performance anxiety, anxiety response, and self-confidence. There were
differences in performance anxiety among students in different grades.
Lower-grade students were more anxious in stage performances. Senior
students had a stronger ability to cope with anxiety than other students, and
the self-confidence level of senior students was better than that of
lower-grade students. The longer the costume performance study time, the
lower the performance anxiety of students. In the anxiety response aspect
after one year of studying fashion performance, students could cope with
performance anxiety through self-encouragement and environmental
encouragement. Individuals who had studied for more than 2 years had
significantly higher self-affirmation scores than individuals who had studied
for less than one year. There were differences in the psychological factors
of students with different performance frequencies, and students who had
more experience in fashion performances had lower anxiety levels. In the
anxiety coping aspect students who had more experience in costume
performance had a stronger ability to cope with anxiety. Students who had
more experience in costume performance had a higher level of
self-confidence. Data analysis indicated that the relationship between anxiety,
anxiety response, and self-confidence in performance by fashion performance
students was the higher the anxiety level, the lower the anxiety response
ability; students with high anxiety levels had low self-confidence; students
with stronger anxiety response ability had higher self-confidence.
Through the above analysis, empirical evidence was gethered to
demonstrate the performance anxiety, anxiety coping, and self-confidence
status of fashion performance students. In view of the above findings, it is
necessary to alleviate the "performance anxiety" of students in the lower
grades and those who perform less frequently, to improve students' mental
health in general, and to enhance their anxiety coping ability and
self-confidence. The results of this study are consistent with the researcher's
observations and hypotheses on the psychological aspects of performance
anxiety, anxiety coping, and self-confidence of fashion performance students
over the years, and are expected to provide theoretical support and practical
references for group intervention counseling to improve the performance
anxiety, anxiety coping, and self-confidence of fashion performance students.

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목차 (Table of Contents)

Contents
Abstract ·················································································································· ⅲ
Ⅰ. Introduction ······································································································ 1
1. Research Necessity ························································································· 1
2. Research Purpose and Research Questions ················································· 2

Contents
Abstract ·················································································································· ⅲ
Ⅰ. Introduction ······································································································ 1
1. Research Necessity ························································································· 1
2. Research Purpose and Research Questions ················································· 2
Ⅱ. Theoretical Background ·················································································· 4
1. Fashion Show ································································································· 4
2. Psychological Situation of Fashion Show Students ································· 12
1) Performance Anxiety ·············································································· 12
2) Anxiety Coping ······················································································ 21
3) Self-confidence ························································································ 25
3. Previous Research ························································································ 31
1) Previous Study of the Effect of Performance Anxiety on
Self-confidence ························································································· 31
2) Previous Study of the Effect of Anxiety Coping on
Self-confidence ························································································· 34
3) Relationship among Performance Anxiety, Anxiety Coping, and
Self-confidence ························································································· 39
4) Theoretical Basis of the Research ······················································· 42
Ⅲ. Research Method ··························································································· 48
1. Research Model ·························································································· 48
1) Variables ································································································ 48
2) Research Hypotheses and Research Model ······································· 48
2. Participants of the Research ····································································· 50
3. Research Tools ··························································································· 52
1) Data Reliability and Validity Test ····················································· 52
2) Exploratory Factor Analysis ································································ 58
(1) Performance Anxiety ········································································· 58
(2) Anxiety Coping ················································································· 61
(3) Self-confidence ··················································································· 63
4. Research Procedures ················································································· 65
Ⅳ. Research Results ···························································································· 67
1. Reliability Test of Formal Questionnaire ·············································· 67
2. Current Status and Demographic Differences of Performance
Anxiety among Fashion Show Students ··············································· 67
1) General Status Quo ·············································································· 67
2) Gender Differences in Performance Anxiety ···································· 70
3) Differences of Performance Anxiety among Grades ························ 74
4) Differences of Performance Anxiety among Learning Duration ···· 79
5) Performance Frequency Differences in Performance Anxiety ········· 83
3. The Current Situation and Demographic Difference of Anxiety
Coping of Fashion Show Students ························································ 88
1) General Status Quo ·············································································· 88
2) Gender Differences in Anxiety Coping ············································· 90
3) Differences in Anxiety Coping among Grades ································· 94
4) Differences in Anxiety Coping among Learning Duration ············· 98
5) Differences in Performance Frequency on Anxiety Coping ········· 102
4. The Present Situation and Demographic Differences of Fashion Show
Students' Self-confidence Level ···························································· 106
1) General Status Quo ············································································ 106
2) Gender Differences in Confidence Level ········································ 108
3) Differences in Confidence Levels among Grades ·························· 111
4) Difference of Confidence Level Among Learning Duration ········· 115
5) Differences of Performance Frequency for Confidence Level ······ 119
5. Correlation Analysis of Performance Anxiety and Anxiety Coping
and Confidence ······················································································· 123
6. Regression Analysis ··············································································· 124
1) Regression Analysis of Anxiety with Self-confidence ··················· 124
2) Regression Analysis of Anxiety Coping with Self-confidence ····· 130
Ⅴ. Discussion ··································································································· 136
1. The impact of Demographic Factors on Fashion Show Anxiety,
Anxiety Coping, and Self-confidence ·················································· 136
1) Gender ································································································· 136
2) Grade ··································································································· 137
3) Fashion Show Learning Duration ····················································· 138
4) Fashion Show Frequency ··································································· 140
5) The Relationship among Performance Anxiety, Anxiety Coping,
and Self-confidence ············································································ 142
6) The Influence of Performance Anxiety on Self-confidence ·········· 143
7）The Influence of Anxiety Coping on Self-confidence ························ 145
8) Theoretical Basis ······················································································· 147
2. Feasible Measures for the Psychological State of Students
Majoring in Fashion Performance ························································ 149
Ⅵ. Conclusions and Suggestions ····································································· 163
1. Conclusions ··························································································· 163
2. Suggestions ···························································································· 166
3. Research Limitations and Outlook ······················································· 167
References ············································································································ 170
Appendix ···················································································································· 183
한글 요약 ················································································································ 189

참고문헌 (Reference)

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