Dr. Mario Alonso Puig - ¿Por qué el miedo a fallar te bloquea? Cómo superarlo

Episode Date: May 5, 2026

El miedo a fallar no te protege… te bloquea justo cuando más lo necesitas.En muchas ocasiones, no es la falta de capacidad lo que nos limita, sino ese miedo que aparece en los momentos clave y que desvía nuestra atención hacia el error que queremos evitar.Cuando esto sucede, dejamos de estar plenamente presentes. Y al dejar de estar presentes, nuestro rendimiento se ve afectado, incluso aunque estemos preparados.En este vídeo quiero invitarte a reflexionar sobre cómo el miedo al fallo influye en tu mente, en tu cerebro y en tu manera de afrontar los retos importantes de tu vida.Comprenderás por qué, bajo presión, puedes perder claridad, memoria y foco, y descubrirás que la clave no está en eliminar el miedo, sino en aprender a dirigir tu atención.Porque cuando recuperas el aquí y el ahora, cuando conectas de verdad con lo que estás haciendo, algo cambia profundamente: tu capacidad vuelve a aparecer.Te invito a dar un paso más en este camino de conciencia y transformación con el curso Conecta con el Presente, un viaje guiado para silenciar el ruido mental, recuperar la calma y aprender a vivir con verdadera presencia.¡Suscríbete!MÁS INFORMACIÓN Y RECURSOS ÚTILES: 📖 ⁠Libros⁠🎧 ⁠Accede a mi audionewsletter gratis⁠🎟️⁠ ⁠Entradas a la nueva conferencia 2026⁠PÁGINA WEB Y REDES SOCIALES OFICIALES:🌐⁠⁠⁠Página Web⁠⁠⁠📷⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠▶️⁠⁠⁠Youtube⁠⁠⁠📲⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠💼⁠LinkedIn⁠𝕏 ⁠Twitter

When you are you are present, no can't enter the the thought, nor the think I'm to go to

get a and the thing I'm because in the moment in the moment in the thing

that's that's that's that's a part of your attention you're you're not

present. If you have to start plainamente is that is that's a

little absent. The problem fundamental of the fear to fall is

that's that's doing that your attention the position in evite

in evite the not in not in not in not being Mario, the talent is entrenate?

Well, first we have to define that's the talent the talent in general has much

to be with the don that one person has been and that that's something is

something with what someone has been what happens is that the level to

that can develop that that is talent is extraordinary. No, there's

no, there's a matter that's a man with a grand talent.

Now, also Mozart, he was a father that was a

in an Austria that was a music and that indutably

that this man was become one one one

the most the most he the most we

this is very important and all we have that that talent in nato that with the

illusion, with the entranement for, for the course that's there's

there's other type of talent that also can be develop even you not you

have you have been the series with what the is that is very difficult

that you can't get to the level of development to

the other talent if not it's your don't natural.

I think we we We have seen of the fear to the failure. And this is that has been like a coincidence divina, because, as a little, we've

about about a phenomenon that I in television and that I want to to comment to the audience. What I interpreto for the card is that this audience see that Carlos plays, happy,

and when he plays and alex, and when you're less fear to fail. I think two years before the Open of Australia,

it's a tournament of a tennis that's called the One Point Match. Something like, so,

it's a one of the people are over 20-pick players, 20 that are professionals, and 20 that are

amateurs. The tournament he's got an amateur, because it's not to play a point,

and the first fallo, well, well, he's, then I'm surprised you know,

usually, they're in the car, is that only, I'm, that's, and how

that's, I think, that I think it's I think it's meant ascendent and a mind descendent but well the resum

is that the fear to fallar that makes that they're even those professionals I think we can't

extrapolate to many situations of the life of the people, before an exam,

of an interview of a time, of a before you know, before I

know, before yes, yes, let's know, we're going to let's

the problem fundamental of the the fear to fail is that is that

that's doing that your attention that you to put precisely in evite the fallo, not in being

present, but in evite a distinction very simple and in a matter has been implications very great.

When you are you can't enter the thought, nor the think I'm to I'm going to

the think I to be a because in the moment in the moment in the

time that that that's that that's the part of your attention.

If robe part of your attention, If you're not present, is that you're a little bit absent. When we're talking of sports of a alter competition, balls that are 200 kilometers per hour, etc., etc.,

in the moment in the that you you you're taking, even if you're two attention, the possibilities of fallar are enormous. What is, for example, in the oppositors?

And this is a thing very dramatic, because the oppositors dedica many, many days, and of many, many years,

to get to make the opposition of their dreams. What is, that's know in the

temario, they've repasate one and other other way with his preparators,

or they and in the moment, in the time in the school, a question,

there's there's there's that I don't get with a with a

certain precision that in this moment, it's the kind of

a complex of a complex am migdalino and he's roba the region anterior of the Cerebrough, with what you

have been a capacity to record what has learned, you know, you're a capacity to connecter in what you're asking, etc., etc. For that

at the hour of having exit, the element most important, obviously has much to be your preparation and your abilities,

but the element most important is to maintain your attention in the here and in the hour.

I was thinking that Depends much How functioned your If it's If it's from above Or de above I'm just

If you You enter in an Avitation Ocura And before To have a Dating a Something

You think There's Any word To be A person If you're If you If you

You enter With the Tranquility That can Pass Nothing You Interpretas the sonnics with more exactitude of what you would do you

So, you're doing in other city. For sure. What you're putting in value is, until what point, the interpretation that we do, the things, previous to happen, and now to teller,

an example, or posterior to that they're an effect enormous in the perception. Ace year, I did an study in the, no, if we've been commented here in the copy,

but, but after years, he did a student in which was injects an idea of

a lot of a lot of a series of and a one of them is they're

to have a encounter a little to get a little to get a another group,

that was an person extraordinary and and it was a injection

intravenos of adrenaline with the the history that

they were very interesting because when when so they said that they're

that they're thinking, those people who were injected to the same dosis than the other

in the same dosis and that's had said, they were to have an encounter inco,

disadable, they were saying that they're feeling that they the same age,

they're they're they're they're getting, they're a enormous illusion,

so here we've a manner in that a person interpretate even in situations so of surprising

interpreta what there is or a a interpretation that they're the perception that has the sentiments

are completely distinct. And why the perception of the children is so inocent? I'm

because I talked about in the card of the the sonrisa interior

with the that I'm the one Well, we'll see, we're going to distinguish fundamentally in the two grand steps,

until the final of the second year of and, let's say, a part of that moment, and the third year, during the first two years of the life of a child, it's a fundamentally,

the hemisphere right of the Cerebrough. The hemisphere right of the Cerebrough no has interpretations. No has interpretations because no manage the language. This means that

receive information fundamentally for canals sensoriales, have experiences emotional and, for the course, experiences visual. It's a lot of

final of the second year, commences of the third, create their sense of the things, their sense of the same

and how is the world, how are the people, to the images, sensations, and emotions.

What occurs? That, a part of the third year, it begins to develop, it's a matured the hemisphere of the cerebral. The hemisphere of the cerebral is the base of the language and the base of the interpretation.

So in that moment, they're going to do interpretations. They're going to buy, even interpretations of other people, and there is how they're how they're

that. What occurs? The factiante, the mirada of the children to the three years of is a mirada much less determined by a world of juicions and interpretations

that the mirada, a part of that third year when it's to develop as the mechanisms of the language. For the consequently, the mirada of the children at a time to the three years of age, is a mirabye much less enjuicator, is much more explorator, is the

talk, is the sense, is the visualizing Visualize a part of the three years Logically, that is going to crescendo Well, it's a much more to be with the interpretations. Yeah, no is a world simply Vist, or

connected with your world more affective but it's a world more narrated, it's a world more interpreted. At final, we're talking

the process Because all is resumed in that as humans we have or we mark objectives or we we imagine

in certain spaces and in certain situations and at final many times we'll

forget we're most beautiful and I know this phrase is manivisina but it's that

it's that they're in the center of all comparing process with result

well I think I think when this this person that person that has written

this card so Bonita, about Carlos Alcarat and how he's

sure, indudably when you are in the here and the hour, when you are really

connected with what you're in the in the in the in the disaparition

of the distance between the archer and the diana it's like if

were all a unid in that you not you not you're

not thinking in if you will get to the result

or not to get the result you you're really

enjoy of that situation. And this is very interesting from the point of

view of the neurochimica because when you are you think that when you

liberate you a hormone and also you're very enfocated in the hour when you are really present,

normally the neurotransmissory most important are the serotoninia which is the neurotransmissor more connected with the

felicity are the opioids the beta endorphina that is a sensation to start really disfutating and the oxytocina

which is the neurotransmissor of the connection not only the connection with other person is a connection with

a connection with the life, with what you are you enter in what the grand psychologist

North American Michael Michael Chikensem Mihai in Chicago said

you're you're in flow you is that's not even you can't think how to do

the things all the all of the thing you're and that's a little what I think that this person

is a person is trying in the in the in his card so for so you know that's a

sensation of relaxation not of tension for getting to get to the is the combination

perfect between tension and relaxation any much more the way

there would not a way of a lot of a But, but,

but it's the tension of, I'm competing with one of the best players of the world,

nobody as young as I've got never this tournament, so it's that combination perfecta,

that's what is what is the flow, to be the documentary, I'm trying, I'm going,

I'm a little, I'm a little, the last a little sub-it, and there

a moment after, I don't know if it's after COVID, in which Alejandro Sanz communicates I don't know if, depression, but not is going to be a good moment, and in the

documental, he recognizes that he's quited the passion for what he has always been. Dejoed to enjoy the music, dejo, de facto, like, and when they're asking, oh, yeah, how has felt, no? No, so I'd like it, Mario, that, to finish,

I don't know if we can't give him a question practical to someone who, for what whatever is, they're just doing to do you that's

a lot of the and of a good way and what can do you know what can return to get to

see? Well, let's to be, to do I think that the first we

have to connect that with that with what in a moment of the we've done we've been

we've we're connected without, without necessity of perfectionism without a,

an objective concrete, simply to play, just to enjoy of the process. Many times we know to learn Alberto

the importance that has the the game, the sense ludic of the thing, you know, you'll be

to get a not to get a talent, simply to just to do that that's that you

know, that's that's a school to, well, do you do you

do you do something, we're all we're to do you do you When you do you enjoy working, your

work is completely different, not only in how you expresses, in how it's, in how it's, in how it's, in the impact that it has.