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Sport and Exercise Psychology: A Canadian Perspective, 3e (Crocker)
Chapter 7 Sport Psychology Interventions

7.1 Multiple Choice Questions

1) Which is a common myth about sport psychology interventions?

A) Psychological skills training is a permanent solution.
B) Only average athletes can benefit from psychological skills training.
C) Psychological skills training usually works best with high achievers.
D) Athletes only need a sport psychology consultant when they are performing poorly.
Answer: D
Level: 2
Section: Common Myths about Sport Psychology Interventions
Category: Recall

2) A sport psychology consultant who spends an entire session with athletes informing them of
the benefits of goal setting is using which phase of psychological skills training?
A) education
B) practice
C) acquisition
D) awareness
Answer: A
Level: 2
Section: Introduction
Category: Applied

3) A sport psychology consultant who is helping a volleyball player learn how to set goals and
how to concentrate better is using which phase of psychological skills training?
A) education
B) practice
C) acquisition
D) awareness
Answer: C
Level: 2
Section: Introduction
Category: Applied

4) An archer who does relaxation and imagery exercises on a regular basis is in which phase of
psychological skills training?
A) education
B) practice
C) acquisition
D) awareness
Answer: B
Level: 2
Section: Introduction
Category: Applied

5) Which of the following is the most commonly used performance enhancement strategy in
sport psychology?
A) goal setting
B) imagery
C) self-talk
D) arousal regulation
Answer: A
Level: 2
Section: Goal Setting
Category: Recall

6) A basketball player who intends to shoot 80% from the free-throw line in a championship
game is demonstrating which type of goal?
A) process
B) performance
C) outcome
D) product
Answer: B
Level: 2
Section: Types of Goals
Category: Applied

7) A hockey player who concentrates on getting back on defence and finishing her body checks
is demonstrating which type of goal?
A) performance
B) outcome
C) product
D) process
Answer: D
Level: 2
Section: Types of Goals
Category: Applied

8) A middle distance runner who intends to win the race is demonstrating which type of goal?
A) process
B) product
C) performance
D) outcome
Answer: D
Level: 2
Section: Types of Goals
Category: Applied
9) Which one of the following explains how goal setting works?
A) directs attention to the task
B) mobilizes concentration
C) regulates persistence
D) promotes the development of relearning
Answer: A
Level: 1
Section: Effectiveness of Goal Setting
Category: Recall

10) Which one of the following results in best performances?

A) easy goals
B) moderate goals
C) moderately difficult goals
D) very difficult goals
Answer: C
Level: 2
Section: Effectiveness of Goal Setting
Category: Recall

11) Which of the following is an assessment tool that allows for the identification of an athlete's
performance-related strength and weakness?
A) Vividness of Movement Imagery Questionnaire
B) Ottawa Mental Skills Assessment Tool
C) Performance Profiling
D) Sport Imagery Questionnaire
Answer: C
Level: 1
Section: Assessing Goals
Category: Recall

12) A wrestler who is competing in a Canadian Interuniversity Sport competition and just wants
to give his best effort in his next match is violating what important goal setting recommendation?
A) timely
B) realistic
C) adjustable
D) specific
Answer: D
Level: 1
Section: Recommendations for Goal Setting
Category: Applied
13) A boxer wishes to move up a weight class during the season so she can compete successfully
at a higher weight. She weighs herself weekly to assure she is on task. Which guideline of goal
setting is she most closely following?
A) timely
B) adjustable
C) measurable
D) specific
Answer: C
Level: 1
Section: Recommendations for Goal Setting
Category: Applied

14) A second-string high school basketball player in his senior year who is short, slow, and
possesses average skills has aspirations of eventually being a starter on an NBA team. Which
guideline of goal setting is he violating?
A) timely
B) realistic
C) adjustable
D) measurable
Answer: B
Level: 1
Section: Recommendations for Goal Setting
Category: Applied

15) An athlete who decides to win every sprint in soccer practice is following which goal-setting
guideline?
A) setting goals for practice
B) making the goals public
C) stating goals positively
D) reviewing goals regularly
Answer: A
Level: 2
Section: Recommendations for Goal Setting
Category: Applied

16) An athlete who is practising imagining an accurate badminton serve is using which function
of the analytic model of imagery?
A) motivational general-mastery
B) motivational specific
C) motivational general-arousal
D) cognitive specific
Answer: D
Level: 1
Section: Analytic Model of Imagery
Category: Applied
17) A curler who imagines herself to be confident in front of a crowd at the Olympic trials is
using which function of the analytic model of imagery?
A) cognitive general
B) motivational general-arousal
C) motivational specific
D) motivational general-mastery
Answer: D
Level: 1
Section: Analytic Model of Imagery
Category: Applied

18) Which function of imagery has research shown to improve self-efficacy?

A) cognitive specific
B) motivational general-arousal
C) cognitive general
D) motivational general-mastery
Answer: D
Level: 2
Section: Analytic Model of Imagery
Category: Applied

19) Which one of the following is a tool used to assess imagery ability?
A) Test of Psychological Skills
B) Ottawa Mental Skills Assessment
C) Vividness of Movement Imagery Questionnaire-2
D) Performance Profiling
Answer: C
Level: 1
Section: Imagery Assessment Tools
Category: Recall

20) Which one of the following is a tool used to assess the frequency of imagery use?
A) Sport Imagery Questionnaire
B) Vividness of Movement Imagery Questionnaire
C) Movement Imagery Questionnaire-Revised
D) Performance Profiling
Answer: A
Level: 2
Section: Imagery Assessment Tools
Category: Recall
21) Which model provides guidelines for imagery use?
A) Analytic Model of Imagery
B) PETTLEP
C) IUM
D) Model of Imagery Functions
Answer: A
Level: 1
Section: Recommendations for Using Imagery
Category: Recall

22) An athlete who uses self-talk to remember the mechanics of a skill is demonstrating which of
the following?
A) cognitive self-talk
B) informational self-talk
C) instructional self-talk
D) motivational self-talk
Answer: C
Level: 3
Section: Functions of Self-talk
Category: Applied

23) An athlete who uses self-talk to build self-confidence and stay focused is demonstrating
which of the following?
A) overt verbalization
B) covert verbalization
C) motivational self-talk
D) instructional self-talk
Answer: C
Level: 2
Section: Functions of Self-talk
Category: Applied

24) Which one of the following dimensions should be used as a guide when developing self-talk
interventions for athletes?
A) Self-talk should be motivating.
B) Self-talk should be covert.
C) The coach should be responsible in developing the athlete's self-talk statements.
D) Use both positive and negative self-talk.
Answer: A
Level: 1
Section: Recommendations for Using Self-talk
Category: Recall
25) Arousal is considered to be a multidimensional construct of consists of which of the
following components?
A) physiological, cognitive appraisal, and affective
B) motivational and cognitive
C) psychological, physiological, and cognitive
D) motivational, affective, and cognitive
Answer: A
Level: 3
Section: Arousal Regulation
Category: Recall

26) An athlete who focuses on alternating feelings of warmth and heaviness of the limbs is
practising which technique to regulate arousal?
A) autogenic training
B) relaxation training
C) muscle awareness
D) kinaesthetic simulation
Answer: A
Level: 3
Section: Techniques to Reduce Arousal
Category: Recall

27) A coach who posts catchy phrases in a location that is visually prominent to increase arousal
is using which technique?
A) visual prompts
B) pep talks
C) bulletin boards
D) poster cues
Answer: C
Level: 2
Section: Techniques to Increase Arousal
Category: Applied

28) A baseball player listening to music before competing is doing so for which of the following
purposes?
A) enhancing motivation
B) increasing arousal
C) practising distraction
D) increasing attention
Answer: B
Level: 2
Section: Techniques to Increase Arousal
Category: Applied
29) Which is the most common procedure for measuring attention as a limited resource?
A) attention cueing
B) dual-task performance
C) temporal occlusion
D) focus assessment
Answer: B
Level: 2
Section: Assessing Attention as a Limited Resource
Category: Recall

30) What causes choking?

A) attention cueing to incorrect information
B) misguided attention control combined with elevated anxiety
C) a combination of temporal and event occlusion
D) fear of failure
Answer: B
Level: 2
Section: Choking
Category: Recall

31) Temporal occlusion examines which characteristics of performance that people use to make
a correct response?
A) amount of effort
B) amount of time
C) number of events
D) number of cues
Answer: B
Level: 2
Section: Assessing Selective Attention
Category: Recall

32) Which of the following encompasses the two broad categories of association and
disassociation?
A) selective attention
B) event occlusion
C) focusing
D) attentional focus
Answer: D
Level: 2
Section: Assessing Selective Attention
Category: Recall
33) Which one of the following is an attention control strategy?
A) simulation training
B) verbal distraction
C) attention inhibition
D) performance substitution
Answer: A
Level: 2
Section: Using Attention-control Strategies
Category: Recall

34) A fatigued middle-distance runner in the last 500 metres of a race starts to silently repeat the
words strong, powerful, and smooth. Which type of attention control strategy is being used?
A) self-talk
B) performance routine
C) attentional cues
D) imagery
Answer: C
Level: 2
Section: Using Attention-control Strategies
Category: Applied

35) How is an athlete's control over attentional focus developed?

A) through competing
B) genetically determined
C) by engaging in dual-coding tasks
D) learned through practice
Answer: D
Level: 1
Section: Conclusions about Attention Control
Category: Recall

36) What is mindfulness?

A) allowing the mind to wander without attentional control
B) a combination of physiological and cognitive alertness
C) the art of conscious control without attentional constraints
D) non-judgmental, present moment and task relevant awareness
Answer: D
Level: 3
Section: Mindfulness
Category: Recall
7.2 True/False Questions

1) When setting goals, an athlete should include performance, process, and outcome goals to get
the best result.
Answer: TRUE
Level: 1
Section: Types of Goals
Category: Recall

2) Most athletes rate goals as being only moderately effective.

Answer: TRUE
Level: 1
Section: Effectiveness of Goal Setting
Category: Recall

3) The analytic model of imagery suggests that imagery has cognitive and motivational functions
that operate at four levels.
Answer: FALSE
Level: 1
Section: Analytic Model of Imagery
Category: Recall

4) An athlete imagining winning an Olympic gold medal is an example of cognitive specific

imagery.
Answer: FALSE
Level: 2
Section: Analytic Model of Imagery
Category: Applied

5) Athletes report using imagery most in competition, and more specifically just prior to
competition.
Answer: TRUE
Level: 1
Section: Analytic Model of Imagery
Category: Recall

6) The dimension of self-talk that is concerned with the extent to which athletes interpret their
self-talk to be motivating is self-determination.
Answer: FALSE
Level: 2
Section: Recommendations for Using Self-talk
Category: Recall
7) An athlete`s ability to effectively regulate arousal is one of the most important techniques in
ensuring success.
Answer: TRUE
Level: 1
Section: Conclusions about Arousal Levels
Category: Applied

8) Attention is a multi-dimensional construct having at least two components.

Answer: TRUE
Level: 1
Section: Attention Control
Category: Recall

9) Attentional cues are a set sequence of thoughts and actions that are done before the
performance of key skills.
Answer: FALSE
Level: 2
Section: Using Attention-control Strategies
Category: Recall

10) Athletes learn, practise, and apply psychological strategies in training and competition.
Answer: TRUE
Level: 2
Section: Chapter Summary
Category: Applied

7.3 Short Answer Questions

1) Discuss how each of the three phases of a psychological skills training program can be
accomplished.
Answer: In the education phase, athletes recognize the importance of mental skills in sport and
how the skills affect performance and one way to accomplish this is to ask athletes about the
importance of mental skills in sport. In the acquisition phase, the focus is placed on helping
athletes acquire the various psychological skills and learn how to most effectively employ them.
In the practice phase, the goals are to have the athletes automate the various psychological skills
through overlearning and to implement these skills in practice and competition.
Level: 3
Section: Introduction
Category: Applied

2) Explain why goal setting is effective.

Answer: Goals direct attention, mobilize effort, foster persistence, and promote the development
of new learning strategies. In addition, goals may influence athletes' performance by enhancing
their self-confidence and their sense of satisfaction.
Level: 2
Section: Effectiveness of Goal Setting
Category: Applied

3) Martin, Moritz, and Hall (1999) developed an applied model for depicting how imagery works
in sport. According to the model, the desired sport outcome should be matched to the correct
function of imagery. Give three examples of outcomes matching the correct imagery function.
Answer: Examples could include a) athletes can employ cognitive specific imagery to learn and
perform skills; b) the performance benefits of using cognitive general imagery have been
reported for rehearsing football plays, wrestling strategies, soccer strategies, and entire canoe
slalom races; c) athletes use motivational specific imagery to help set goals; d) a motivational
general-mastery imagery intervention can improve sport confidence; and e) if an athlete wants to
reduce anxiety prior to a competition, the type of imagery used should be motivational general-
arousal.
Level: 3
Section: Analytic Model of Imagery
Category: Applied

4) Why is it important to encourage athletes to use positive self-talk?

Answer: One of the most consistent findings in sport psychology research is the direct
relationship between positive thinking (self-talk) and successful performance. Athletes need to
change "I can't" to "I can" and "It's difficult for me" to "It's a challenge for me" if they want to be
more successful.
Level: 2
Section: Functions of Self-talk
Category: Applied

5) Briefly describe three techniques an athlete can use to reduce arousal.

Answer: 1) Breathing, by learning to breathe better, athletes can achieve deep relaxation or
momentary relaxation. 2) Progressive relaxation, involves systematically tensing and relaxing
specific muscles in a predetermined order. 3) Meditation, involves the uncritical focus of
attention on a single thought, sound, or object. 4) Autogenic training, involves focusing on
feelings associated with limbs and muscles of the body.
Level: 3
Section: Techniques to Reduce Arousal
Category: Applied

6) Attentional cues are words and actions that direct the athlete's attention. Three types of cues
are verbal, visual, and physical. Describe each type of cue and provide an example of its use.
Answer: A verbal cue is typically a single word, which is repeated at the appropriate moment.
Some examples of verbal cues are smooth, high, speed, ready, and power. A visual cue entails
focusing keenly on something in the athlete's surroundings. For example, looking at the strings
of a squash racquet, staring at the logo on the shaft of a field hockey stick, and fixating on the
button in curling are all visual cues an athlete may use. A physical cue involves doing an action,
such as taking a deep breath, banging the stick on the ice, or slapping the thigh.
Level: 3
Section: Using Attention-control Strategies
Category: Applied
7) Describe what the relationship should be between the sport psychology consultant and the
athlete.
Answer: The sport psychology consultant should build a strong working relationship with the
athlete before implementing an intervention. This will ensure the athlete, trusting in the
consultant, is comfortable using the various mental skills incorporated in the intervention. It will
also allow the consultant to individualize the intervention thus catering to the specific needs of
the athlete.
Level: 3
Section: Relationship Between Sport Psychology Consultant and Athlete
Category: Applied
Another random document with
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 — Ei, ei lainkaan, pikemmin päinvastoin, mutta emme nyt niistä
puhu, johan minä — — —

— Vallanko nyt niin, eihän tuo niin "vaarallista" liene?

— Eihän se vaarallista lainkaan. Minä näet harrastin kokonaan

toista taiteenhaaraa, maalausta, josta ei sitten tullut kuitenkaan
mitään.

— Rajoittui vain koulun piirustusopetukseen?

— Pääasiallisesti siihen. Hiukan sitä myös käytteli värejä

ominpäinsä, mutta eihän tuloksettomasta työstä kannata puhua.

Olimme ihan samaa mieltä, varsinkin kun tahdoimme päästä taas

käsiksi näyttämötaiteeseen. Tiedustelimme senvuoksi taiteilijattaren
ensimmäistä näyttämöllistä esitystä ja sen tekemää vaikutusta
häneen.

Eräässä tuttavaperheessä lapset olivat keskenään leikkineet ja

näytelleet, ruotsinkielellä, Z. Topeliuksen pienen kappaleen "Ole
armelias köyhille", jossa taiteilijattaremme 15-vuotiaana oli esittänyt
Brita muorin osan. Hauskaahan se etupäässä oli ollut, mutta kovin
vakavasti se oli otettu, täydellisellä hartaudella ja antaumuksella
esitettiin esitettävä.

— Ei siis tämä johtanut ajatusta teatteriin, synnyttänyt edes

hämärää aavistusta tulevasta toimialasta?

— Eipä tietenkään, koska vuotta myöhemmin koulusta erottuani

rupesin erään suuren tamperelaisen liikkeen kassanhoitajattareksi ja
siinä toimessa sitten pysyin kaksi vuotta.
 — Entäs sitten kahden vuoden kuluttua?

— Läksin silloin teatteriin.

— Ajatus siis kypsyi kassanhoitajattarena.

— Silloinpa tietenkin.

— Esiinnyittekö Tampereella missään seuranäytelmässä?

— Esiinnyin, kuten nuoret ihmiset yleensä esiintyvät heitä sellaisiin

tilaisuuksiin avustamaan pyydettäessä. Ensimmäinen osani tältä
ajalta oli Alman osa kappaleessa "Tätä nykyä." Tekijän salanimeä en
muista, mutta älkää kirjoituksessanne mainitko kuulemaanne oikeata
nimeä, sillä en tiedä lainkaan, haluaako hän esiintyä julkisuudessa.
Suomalainen teatteri kyllä esitti näytelmän aikoinaan, ja on se
painettuna kirjanakin ilmestynyt. Nämä esiintymiset eivät suinkaan
vaikuttaneet ratkaisevasti uranvaihdokseeni, päätös siitä kypsyi
hiljalleen ensimmäisen siellä viettämäni vuoden kuluessa, ja
luultavasti ikävän ja työalaani kyllästymisen aiheuttamana.
Seitsentoistavuotiaana kirjoitin sitten äidilleni, että ehdottomasti tulen
pyrkimään teatteriin ja että minua on turha kieltää siitä, sillä kaikesta
huolimatta lähden kumminkin.

— Halu oli siis järkähtämätön ja vakava joka tapauksessa.

— Siitäpä se näyttää.

— Niin, siitä ja sen syistähän emme tosiaankaan puhu.

Kyselisimme kuitenkin unelmistanne ja odotuksistanne tälle uudelle
uralle astuessanne, tiedustelisimme noin vain ohimennen,
sivuuttaaksemme tuon arkaluontoisen syntyjen syvien tutkimisen.
 — Kahdeksantoistavuotiaan unelmathan ovat aina loistavat ja
valoisat ja korkealle sitä tietysti taiteensa asetti, korkeammalle
kaikkea muuta maallista. Muistan hyvin, kuinka syvästi säälin
jokaista ihmistä, joka vain puhui tavallisista arkiasioista; ne raukat
eivät mitään tiedä oikeasta, todellisesta elämästä, mietiskelin
mielessäni. Nyt myöhemmin on sitten kyllä itsekin saanut paljon
arkiasioita aprikoida, ja hyvinhän sitä siihenkin perehtyy ja tottuu.

— Oliko polkunne tällä uudella uralla sitten aivan ohdakkeeton?

uskalsimme kysäistä.

— Eipä suinkaan, toista oli silloin kuin nykyään. Nykyisellä

nuorella polvella on ihan liian hyvät päivät. Teatterikoulussa saadaan
valmis näyttämötottumus ja tekotapa, ei tarvitse paljon itse
ponnistella, vähälahjaisimmatkin voivat jo heti alussa esiintyä
jonkinlaisella valmiudella ja suoriutua tehtävistään melkoisella
menestyksellä. Me saimme väliin vuosikaudet olla statisteina ja
vuorotellen hoitaa kuiskaajan tointa. Kuiskaajana oli kurjinta. Halu
paloi näyttämölle, mutta kohtalo viskasi näyttämön alle. Muistan
hyvin, kuinka kerran Turussa vierailtaessa näyteltiin "Kylän heittiö"
nimistä laulukappaletta. Minulla oli tässä ilossa kuiskaajan onneton
osa. Joku edellinen uhri, joka nyt luultavasti liikkui jo lavalla, oli
piirtänyt suorin kirjaimin luukun eteen sanat: Sufflera, din fan
(Kuiskaa, senkin piru)! Tämä tietysti ärsytti yhä enemmän jo
ennestään ärtynyttä mieltä, ja laulukohtauksien aikana painuin aina
kuiskaajan koppiin ja itkin kiukusta ja katkeruudesta. Varsinaisia
vastuksia minulla ei kuitenkaan ollut, ei suuria suruja eikä
pettymyksiä, olivathan kaikki muutkin ennen saaneet samaa kokea
kuin minäkin, ei siis mitään valittamista. Ja siitä huolimatta oli koko
teatterissaoloni minulle kuin uhkaava, pakottava ruoska.
 — Mistä se sitten johtui?

— Siitä ankarasta kunnioituksesta työtä kohtaan, jonka minulle

antoi neiti Avellan, joka sattui joutumaan opettajakseni. Siihen
aikaan sai kukin vanhempi näyttelijä jonkun vasta-alkajan
opastettavakseen, ja minä jouduin nauttimaan, osaksi hyvien
tuttavienkin toimesta, neiti Avellanin nerokasta ja sytyttävää
ohjausta. Häntä saan kaikesta kiittää. Ensinnäkin jo ehkä teatteriin
pääsystäni. Tohtori Bergbom ei näet kiinnittänyt mitään erikoista
huomiota minuun, mutta neiti Avellan uhkasi, että ei lukisi kenenkään
alottelevan kanssa vastaisuudessa, ellei "Finneä oteta teatteriin". Ja
sitten on hänen ansiotaan koko se kunnioitus taidetta ja vakavaa
työskentelyä kohtaan, mikä minussa mahdollisesti on ollut ja vieläkin
on.

— Tämä mainitsemanne neiti Avellanin lausuntoko aiheutti sitten

pääsynne vakinaiseksi näyttelijäksi?

— Ehkäpä välillisesti, mutta oikeastaan sen aiheutti suoranainen

sattuma. Muistattehan Molièren "Luulosairaassa" pienen Louison
nimisen tytön, joka m.m. saa vitsaa isältään? No niin, minun
tehtävänäni oli harjoittaa siihen osaan pieni kansakoulutyttö, joka
oppikin sen hyvin, mutta oli niin kaino, että ei saanut sanaakaan
suustaan ratkaisevana hetkenä. Harmistuneena toht. Bergbom
määräsi minut näyttelemään oppilaani osaa, ja siinä onnistuinkin niin
hyvin, että sain muitta mutkitta näyttelijävälikirjan, tarvitsematta
antaa koenäytäntöä johtokunnalle. Tämä tapahtui kevättalvella 1886,
siis oltuani jo kokonaisen vuoden teatterin palveluksessa.

— Silloinko esiinnyitte ensi kerran vakinaisen teatterin lavalla?

 — En, olin jo hiukan aikaisemmin näytellyt Sinipiikaa "Kullervossa"
Kivi-juhlassa tammikuun 1 päivänä 1886. Se oli samalla minulle
suuri ilonpäivä, sillä silloin oli nimeni ensi kerran painettu ohjelmaan.

Kysyimme sitten taiteilijattaren ensimmäistä suurta iloa taiteellisen

voiton ja menestyksen johdosta.

Se oli tapahtunut hänen esittäessään Boriskan osaa samassa

"Kylän heittiössä", jonka kappaleen kuiskaajana hän kerran Turussa
oli niin katkerasti itkenyt.

Kaarle Halme.

— Aiotte siis lopettaa sarjanne ja tehdä minusta viimeisen miehen,

virkkoi Kaarle Halme häneltä haastattelua pyytäessämme. Kiitos
vain kunniasta! Mutta olettehan jo haastatellut niin monta suuruutta,
että mitäs tällaisista pojista…

— Poika kuin poika — ja mitäs turhista masentua, voihan sitä

miehestä vastaisuudessa vielä suuruuskin sukeutua, kuten kaikista
muistakin… Ensimmäiset tulevat viimeisiksi ja viimeiset
ensimmäisiksi… Mutta tosissa puhuen olen valinnut juuri teidät
viimeiseksi senvuoksi, että voisin lopettaa sarjan johonkin
suurempaan, merkitsevämpään pisteeseen, jollaisella sen
alotinkin…

— Minunko siis pitäisi ruveta menneitä miettimään; sehän on kuin

testamentin tekoa, kuolemaa. Olen niin keskellä työtäni, näen kaiken
vielä niin edessäni, etten tiedä mennyttä olleeksi, en mitään tähän
saakka tapahtuneeksi.

— Ja kuitenkin on niin paljon tapahtunut.

— Mitä vielä. Kaikki kävi kuin itsestään, 23-vuotiaana menin

Suomalaiseen teatteriin…

— Miten sinne jouduitte?

— Menin vain, kuten jo sanoin. Olin siihen aikaan Turun

lääninhallituksessa, jossa sain toimen v. 1883. Teatteri vieraili
kaupungissa syksyllä 1887, minä menin tarjolle ja kelpasin.

— Muitta mutkittako?

— Täytyi tietysti ensin esiintyä Turussa ja antaa vielä koenäytäntö

johtokunnalle Helsingissä, sitten oli kaikki sitä myöten valmista.

— Missä kappaleessa ensin esiinnyitte Turussa?

— Näyttelin Marokon prinssin osan Shakespearen Venezian

kauppiaassa, Portian erään kosijan. Katsomossa istuivat kaikki
virkatoverini virnistellen, mikä minua hermostutti niin, että
ratkaisevassa silmänräpäyksessä unohdin koko osani. Kuiskaaja
pani parastaan. Portia, rouva Rautio, koetti hänkin supattaa jotakin
minulle, mutta mikään ei auttanut, ennenkuin ennätin rauhoittua ja
itse muistaa vuorosanani. No niin, otin sitten viransijaisen kahdeksi
viikoksi, lääninsihteeri Rydman, jonka täydellisessä suosiossa olin,
antoi minulle oikeuden olla poissa kokonaista 2 vuotta paikkaani
menettämättä, ja suori minut matkalle Helsinkiin, vaikka ei erittäin
kehottanut teatteriin liittymään, mutta ei tahtonut estääkään.
 — No, sille Helsinginmatkalle jäitte?

— Sille jäin, aluksi 100 markan kuukausipalkalla, joka ei vieläkään

niin ruhtinaallinen ole. Silloisista virkatovereistani istuu usea nyt
20000 vuosituloilla, jotka kai minullakin olisi, ellen olisi antautunut
tuolle epäkiitolliselle taiteilijauralle. Olinhan jo nuoruudestani
huolimatta ollut Liedon nimismiehen sijaisena; alku oli siis hyvä.

—. Minkä osan esititte sitten johtokunnalle Helsingissä?

— Daniel Hjortin. Heti esityksen päätyttyä nousi Jaakko Forsman

paikaltaan, muutoin vanha kotipitäjäläinen, Hämeenkyrön poika, ja
lausui: "Tervetuloa Helsinkiin!" Tiesin sen kohtaloni ratkaisuksi, ja
heti sitten sainkin välikirjan.

— Olitte tietysti näytellyt jo usein ennen teatteriin liittymistänne.

Minkä ikäisenä ja missä osassa ensi kerran eläissänne esiinnyitte?

— Hämeenkyrössä esiinnyin ensi kerran ja olin silloin

kymmenvuotias. Joku vanhempi koulupoika oli kirjoittanut Saul
nimisen kappaleen, jonka sai myös pitäjäläisten suureksi
ihastukseksi lavalle, ja pisti sievät rahat taskuunsa. Tässä
kappaleessa näyttelin Davidin osan. Muistan, että minulla oli m.m.
pitkä yksinpuhelu, jonka tahdoin piirtää hiilellä esiripun yläosaan,
mukavuutta rakastava kun olen aina vähin ollut, mutta siihen eivät
muut suostuneet.

— Tästäkö sitten teatteri-intonne alkoi, vai oliko se jo ennenkin

ilmennyt?

— Ei ennen, eikä tästäkään. Pääharrastuksenani oli

kirjoitteleminen, joka ei vieläkään ole sammunut, kuten tiedätte.
Turunkin sanomalehtien alakertoja täyttelin novelleilla, joista ei
maksettu paljon mitään.

— Harrastitte näyttämötaidetta tietysti Turussakin?

— Harrastinpa tietystikin, ja ihan teatterin ohjaajana. Nämä puuhat

saivat alkunsa siten, että muuan Vankka niminen toveri oli
puutteessa ja hänen hyväkseen panimme toimeen pienet
näyttäjäiset. Useita muitakin köyhiä tovereita autettiin siten. Niin,
ensi talvenahan vietän teatterinjohtajajuhlaani, jolloin näyttämölle
asettamieni ja ohjaamieni kappaleiden luku nousee sataan, Turun
näytännöt niihin luettuina.

— Kyselisin vielä ensimmäisiä näyttämötaiteellisia

menestyksiänne ja voittojanne.

— Ensimmäinen suurempi merkkitapaus taiteessani oli tohtori

Rellingin osa Ibsenin Villisorsassa. Silloin aloin hallita tekotapaani ja
järkiperäisesti eritellä osiani. Toinen voittoni oli Ahman osa Santeri
Ivalon Juho Vesaisessa, jolloin liitin pysyväisesti ohjelmistooni
kotimaisten aiheitten esittämisen. Kenraalikuvernööri Mörnerin osa
Arvid Järnefeltin Samuel Croëlissa merkitsi sitten viimein valmiutta
taiteessani. Sitä esitystä oli muun muassa katsomassa kirjailija
Birger Mörner, joka näytännön jälkeen tuli kiittämään minua siitä, että
oli saanut nähdä sukunsa kantaisää niin hienosti ja sielukkaasti
esitettävän. — Ja nyt kai pääsen rauhaan tärkeimmät tiedot
saatuanne? lopetti taiteilija.

Mikä kumartaen myönnettiin.

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