Rating the Acting Moment: Exploring Characteristics for Realistic Portrayals of Characters

Psychotherapeutic Playback Theatre, Well-Being, and Psychological Distress: An Impact Study

Psychotherapeutic Playback Theatre (PPT) is a new psychotherapeutic format inspired by Playback Theatre and several therapies. The research presented here aims to study the impact of PPT on the Well-being and Psychological Distress of participants in this expressive-based group psychotherapy. To achieve this, after training 30 psychotherapists and creating an implementation handbook for their use, the research team assisted 20 of them (individually or in groups of two or three) in implementing therapeutic groups that offered 12 weekly sessions, each lasting two to three hours. Nine groups were formed, including a total of 50 participants, who were assessed before and after the PPT program using questionnaires evaluating Psychological Distress and Well-being. The latter consisted of six subscales: Autonomy, Environmental Mastery, Personal Growth, Positive Relations with Others, Purpose in Life, and Self-Acceptance. A control group of 50 participants was assessed using the same variables. No significant differences were found between pre- and post-tests in the control group. However, significant differences were observed in the PPT group, with Psychological Distress decreasing and Well-being improving, both on the total scale and across all subscales except for Self-Acceptance. This set of results allows us to establish connections between participation in the PPT sessions and the positive psycho-emotional effects on participants.

Does ASMR propensity reflect a mentally flexible mindset? Exploring the relationship between ASMR propensity, transliminality, emotional contagion, schizotypal traits, roleplaying ability, and creativity

Autonomous Sensory Meridian Response (ASMR) is an alternative state of consciousness characterised by changes in affect, feelings of relaxation, and tingling sensations on the body. Online videos designed to stimulate ASMR in viewers have become increasingly popular. Although there is evidence that ASMR may improve sleep, emotion regulation, and relaxation, the current understanding of ASMR propensity remains limited. This study examined whether a mentally flexible cognitive style may underlie the ability to experience ASMR. Undergraduate students (N = 376) completed an online survey involving a series of self-report questionnaires and two performance-based creative ability tasks. Findings did not provide support for an overall mentally flexible mindset, however, transliminality, emotional contagion susceptibility, positive schizotypal traits, and roleplaying ability all significantly positively predicted ASMR propensity. These findings suggest that ASMR propensity represents several possible underlying cognitive styles relating to enhanced imagination and perceptual ability, and cannot be simply characterised by mental flexibility.

Interaction in acting training and its different manifestations in novice and professional actors

This study aimed to identify the characteristics of interactions during acting training and the underlying intrapersonal changes evoked by a training process that emphasizes paying attention to a partner (the Meisner technique). This was operationalized by conducting a post-hoc analysis and categorizing the utterances made by novice and professional actors during acting training based on video and audio recordings. In Study 1, novice participants tended to change their way of communication as the course progressed, decreasing the number of utterances that simply described the partner's behavior and increasing those that speculated about the partner's inner state. We then used a different focus placed on the interaction, as implied by the different kinds of utterances used, to describe the divergences between novice and professional actors regarding their interaction characteristics. In Study 2, results showed that while professional actors devoted themselves more to the connection with their partner and demonstrated more balanced communication, novice actors relied on general inference to speculate about others' affective states. By comparing the characteristics of the utterances between novice and professional actors as they played different roles or made switches (i.e., changing from passive to active utterance in communication), this study suggests that an important impact of acting training on social abilities relates to its potential to increase the levels of involvement in on-going interactions.

Feeling for the Other With Ease: Prospective Actors Show High Levels of Emotion Recognition and Report Above Average Empathic Concern, but Do Not Experience Strong Distress

Differences in empathic abilities between acting, dance, and psychology students were explored, in addition to the appropriateness of existing empathy measures in the context of these cohorts. Students (N = 176) across Higher Education Institutions in the United Kingdom and Europe were included in the online survey analysis, consisting of the Reading the Mind in the Eyes (RME) test, the Interpersonal Reactivity Index (IRI), the Empathy Quotient (EQ), and the E-drawing test (EDT), each measuring particular facets of empathy. Based on existing evidence and our understanding of the discipline practices, we predicted that acting students would perform the best at identifying people’s emotional expressions but might lack other cognitive or affective empathy skills, particularly those related to emotional reactions. This cohort thus provides an opportunity to evaluate different empathy measures. While actors showed significantly higher RME scores than dancers, the difference between actors and psychologists was marginal. Moreover, actors’ scores did not differ significantly on other empathy measures, such as their concern for others’ emotional wellbeing or fantasy, both measured by IRI subscales. Psychology students scored highest in the IRI perspective taking subscale and the data supported anecdotal evidence that psychologists were more concerned for others’ emotional wellbeing than dancers or actors. Dancers seemed the least concerned with others’ perspectives and emotional states, which we explained through a somatosensory ‘inward’ focus required by their art form. Nevertheless, compared to the general population, our groups reported higher empathic abilities on all IRI subscales except for personal distress. Altogether, our study shows that the RME, the IRI, and the EDT vary in their susceptibility to different facets of empathic abilities in acting, dance, and psychology students whereas the EQ does not. Emotions can be expressed and perceived through language, facial expressions, or behavior. As many empathy tests focus on one type of signal they might miss other strategies. Where empathy tests are applied to individuals that have a predominance to read or respond to others in a particular way, as we showed through these three disciplines, they might not capture these empathic strategies. We thus propose that empathy tests must evolve by means of integrating varied forms of communication.