%% apa:: Ohikuare, J. (2014, March 10). How Actors Create Emotions: A Problematic Psychology. _The Atlantic_. [https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/](https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/) %% # How Actors Create Emotions: A Problematic Psychology --- Ohikuare, J. (2014, March 10). How Actors Create Emotions: A Problematic Psychology. _The Atlantic_. [https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/](https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/) ^apa --- ## Metadata title: How Actors Create Emotions: A Problematic Psychology author:: Judith Ohikuare cite-key:: ohikuare2014HowActorsCreate date_published:: 2014-03-10 url:: [https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/](https://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/) Type: Magazine article keywords:: [[Emotion]] ## Abstract Fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding. ^abstract --- ## Notes > "But for Margolin, the line separating her real self from her stage self became less defined the deeper into character she went. Playing a person whose existence was blight on others' took a real toll, emotionally and physically, and possibly even affected how her peers treated her. For many actors like Margolin who land demanding roles, fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding." ([Ohikuare 2014:2](zotero://open-pdf/library/items/XX2MADRL?page=2)) Self. What is identity versus trying on other identities ([note on p.2](zotero://open-pdf/library/items/XX2MADRL?page=2)) > "In truth, cognitive scientists and psychologists have been reluctant to embrace acting as a serious subject of study. But researchers like Thalia Goldstein, an assistant professor of psychology at Pace University, have recently started to investigate the links between the two fields with the idea that both disciplines can be enriched by a study of their commonalities. In a joint paper from Goldstein and Yale professor Paul Bloom, "The mind on stage: why cognitive scientists should study acting," Goldstein argues that psychologists can look to how actors create emotions in order to understand human nature in a new way. "I think that at their cores, psychology, cognitive science, and theater are all trying to do the same thing, which is understand why people do the things they do, our range of behavior, and where it comes from," Goldstein says. "It's just two different ways of looking at the same question."" ([Ohikuare 2014:2](zotero://open-pdf/library/items/XX2MADRL?page=2)) Congnitive science, psychology and theatre all are trying to understand the root of human behaviour and emotion. Historically there has been a reluctance for cognitive scientists and psychologists to look into the theatrical arts. ([note on p.2](zotero://open-pdf/library/items/XX2MADRL?page=2)) > "Goldstein believes that a principal barrier to such research is that few people—scientists and average viewers alike—understand the work that goes into acting and what it means to convincingly portray another person onstage." ([Ohikuare 2014:3](zotero://open-pdf/library/items/XX2MADRL?page=3)) There is a lack of understanding between disciplines, and a perception problem. This reminds me of the perception problem “[[Wayfinding]]” has compared to “environmental graphics. ([note on p.3](zotero://open-pdf/library/items/XX2MADRL?page=3)) > "Goldstein looks at three categories—pretense, lying, and acting—as they fit into a trio of cognitive parameters. First, what is being presented perceptually and if it is actually happening or is just pretend; second, what behavior is being shown and whether that behavior is a cue to reality; and finally, whether the exhibited behavior is intended to fool the audience." ([Ohikuare 2014:3](zotero://open-pdf/library/items/XX2MADRL?page=3)) There are three categories used to evaluate the cognitive parameters of acting. ([note on p.3](zotero://open-pdf/library/items/XX2MADRL?page=3)) > "On the first parameter, Goldstein says, all three categories are in agreement. In the cases of pretense, lying, and acting, "what is being presented perceptually, what we're seeing, is not real." "Acting is a form of pretense that's done with more realistic behavior, and a form of lying that everyone is in on."" ([Ohikuare 2014:3](zotero://open-pdf/library/items/XX2MADRL?page=3)) > "In the second parameter, there is some variation among the categories. "In pretense, the behavior is a cue to the fact that what [someone] is doing is not real. You're smiling even though you say you're sad, or you're not using a cup when you pretend to drink," Goldstein explains. "In deception and acting, though, the behavior [alone] is not a cue to the fact that what you're doing is not real."" ([Ohikuare 2014:3](zotero://open-pdf/library/items/XX2MADRL?page=3)) > "The final category is the trickiest of all: Are actors trying to make people believe that what they're doing is true? Well, yes and no. Acting is not lying and neither is it pretense, but both flirt with what is "true" or real to varying degrees. "Everybody knows that when they're watching CSI: Miami or playing tea party with a four year old that they're watching television and not dining with the Queen," Goldstein says. "But with lying, only the person who is lying understands what's going on." On the categorical spectrum then, "acting is a form of pretense that's done with more realistic behavior, and a form of lying that everyone is in on."" ([Ohikuare 2014:3](zotero://open-pdf/library/items/XX2MADRL?page=3)) > "What we value as "realistic" acting is a relatively new and particularly American way of depicting society. Taking into consideration the arc of Western performance from highlysymbolic Greek theater, to Laurence Olivier's classic turn as Hamlet in 1948, to pretty much any Meryl Streep role, ever, it becomes evident that audiences' demand to really believe what they are seeing has been a gradual, modish progression." ([Ohikuare 2014:4](zotero://open-pdf/library/items/XX2MADRL?page=4)) > "The trend toward realism in acting emerged in the mid-20th century due to the influence of Russian actor and director Constantin Stanislavsky, who urged actors to strive for "believable truth." As noted on PBS.org: Stanislavsky first employed methods such as "emotional memory." To prepare for a role that involves fear, the actor must remember something frightening, and attempt to act the part in the emotional space of that fear they once felt. Stanislavsky believed that an actor needed to take his or her own personality onto the stage when they began to play a character. [...] Later Stanislavsky concerned himself with the creation of physical entries into these emotional states, believing that the repetition of certain acts and exercises could bridge the gap between life on and off the stage." ([Ohikuare 2014:4](zotero://open-pdf/library/items/XX2MADRL?page=4)) > "Subsequently, heavily influenced by Stanislavsky, actor and director Lee Strasberg interpreted his teacher's philosophy for an American audience and emphasized affective memory—a key component of what is touted as method acting, or simply, the Method." ([Ohikuare 2014:4](zotero://open-pdf/library/items/XX2MADRL?page=4)) [[Memory, affective]] is a key component in method acting (also known as Method). ([note on p.4](zotero://open-pdf/library/items/XX2MADRL?page=4)) > "Subsequently, heavily influenced by Stanislavsky, actor and director Lee Strasberg interpreted his teacher's philosophy for an American audience and emphasized affective memory—a key component of what is touted as method acting, or simply, the Method" ([Ohikuare 2014:4](zotero://open-pdf/library/items/XX2MADRL?page=4)) > "Neighborhood Playhouse teaches its students according to the principles of the Meisner Technique, an offshoot of Stanislavsky's work developed by Sanford Meisner—a one-time friend and contemporary of Lee Strasberg. According to Kareman, the divide between the pair was that Strasberg was much more interested in actors working from their real lives and real pain, whereas Meisner thought that was "psychotherapy and had no place in acting." "Meisner thought that the biggest gift an actor has is his or her imagination, which is limitless, while one's real life and real experiences were quite limited," Kareman says." ([Ohikuare 2014:5](zotero://open-pdf/library/items/XX2MADRL?page=5)) A comparison of two offshoot approaches to acting based on the Stanislavsky approach:1. Strasberg (Method) encouraged actors to dig into the emotions from their own personal lives to centre the character. It encouraged internalizing the method for character creation.2. Meisner (for Sanford Meisner) encouraged imagination, therefore looked to externalize the actor’s approach to character creation. It actively encouraged not digging into past trauma. ([note on p.5](zotero://open-pdf/library/items/XX2MADRL?page=5)) > "She cites research from late Yale professor Susan Nolen-Hoeksema on the effect of 'ruminating' on negative events, which has been shown to "consistently predict the onset of depression" in those who engage in it, particularly women." ([Ohikuare 2014:5](zotero://open-pdf/library/items/XX2MADRL?page=5)) Interesting research by Susan Nolen-Hoeksema. Ruminating on past negative events is tied to the onset of depression, especially among women.#research This would be interesting to look into more.#question I’m curious what Nolen-Hoeksema found related to a gender divide. ([note on p.5](zotero://open-pdf/library/items/XX2MADRL?page=5)) > "She points to findings from Harvard social psychologist Amy Cuddy, who has said that just putting yourself into an assertive position, a "power pose," like sitting in a chair with your chest puffed out, not only affects the way that you feel, but actually changes hormonal levels, with stress cortisol decreasing and testosterone increasing" ([Ohikuare 2014:6](zotero://open-pdf/library/items/XX2MADRL?page=6))