A personality study of professional and student actors.

Stacey, Chalmers L.; Goldberg, Herman D.

doi:10.1037/h0058197

Cited by 14 publications

(11 citation statements)

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“…Extraversion . Extraversion has long been associated with acting [ 8 ], and creative careers in general [ 74 ]. Here, significant group differences across non-actors, student actors, and professional actors were observed on both the Enthusiasm and Assertiveness facets of Extraversion.…”

Section: Results and Implicationsmentioning

confidence: 99%

“…Despite this historical interest among psychologists in actors and acting theoretically, the actual body of empirical work dedicated to actors is small compared to investigations into other areas of expertise (e.g., engineering; [ 7 ]). The earliest empirical investigation of the psychology of professional actors of which we are aware was conducted by Stacey and Goldberg [ 8 ]), who used a number of self-report psychometric scales to show that undergraduate student actors who were regularly cast in university productions were more psychologically similar to professional actors than were undergraduate student actors who were rarely cast in university productions. Specifically, Stacey and Goldberg [ 8 ] showed that student actors who were rarely cast exhibited much higher levels of extraversion than did students who were regularly cast or professional actors, who were much more inhibited, conscientious, and prone to depressive thinking.…”

Section: Introductionmentioning

confidence: 99%

“…In addition, within the general literature on creativity, psychological differences among individuals who are professionally creative and those who are not has perennially been of interest [ 39 ]. Regarding the specific question of how student and professional actors differ psychologically, the classic study—now nearly 70 years old—by Stacey and Goldberg [ 8 ] remains potentially the most informative. In the current study, we adopt a sampling strategy similar to Stacey and Goldberg [ 8 ] in that we specifically compare student and professional actors but modernize the work through the large-scale data collection that is now the standard of the field [ 40 ].…”

Section: Introductionmentioning

confidence: 99%

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The psychology of professional and student actors: Creativity, personality, and motivation

2020

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As a profession, acting is marked by a high-level of economic and social riskiness concomitantly with the possibility for artistic satisfaction and/or public admiration. Current understanding of the psychological attributes that distinguish professional actors is incomplete. Here, we compare samples of professional actors ( n = 104), undergraduate student actors ( n = 100), and non-acting adults ( n = 92) on 26 psychological dimensions and use machine-learning methods to classify participants based on these attributes. Nearly all of the attributes measured here displayed significant univariate mean differences across the three groups, with the strongest effect sizes being on Creative Activities, Openness, and Extraversion. A cross-validated Least Absolute Shrinkage and Selection Operator (LASSO) classification model was capable of identifying actors (either professional or student) from non-actors with a 92% accuracy and was able to sort professional from student actors with a 96% accuracy when age was included in the model, and a 68% accuracy with only psychological attributes included. In these LASSO models, actors in general were distinguished by high levels of Openness, Assertiveness, and Elaboration, but professional actors were specifically marked by high levels of Originality, Volatility, and Literary Activities.

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Section: Results and Implicationsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The psychology of professional and student actors: Creativity, personality, and motivation

2020

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“…However, formal (Stacey & Goldberg, 1953) and informal anecdotal evidence indicates that many professional actors are shy, and the speculation is that a script and direction removes social obstacles and awkwardness while allowing a performer to become the character.…”

Section: Discussionmentioning

confidence: 99%

Comparisons of Personality Dispositions and Genetic Inferences in Groups of Performing Artists

Kane¹,

Polasek²,

Hendrick³

2017

IJMPA

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There are a number of innate and external factors that contribute to the success of performing artists. Search for these factors has resulted in attempts to profile performing artists based on genetic markers and personality types. The aim of this investigation was to examine select personality traits of performing artists and compare responses to previous research. Personality traits of student and professional musical theatre performers were measured with the Tellegen Absorption Scale (TAS; N = 30) and the Cloninger Tridimensional Personality Questionnaire™ (TPQ TM ; N = 28) and compared to a previously published study of dancers (N = 85) using one-sample t-tests. The TAS score of the current study (M = 22.90±6.47) was not significantly different to that of the dancers (M = 21.05; p = .128). However, the TPQ demonstrated significantly higher and lower differences, respectively, in musical theatre performers compared to dancers on the subscales of Harm Avoidance (HA) and Reward Dependence (RD), but not Novelty Seeking (NS). Findings suggest both similarities and significant differences between student and professional performers, with potential genetic associations. Pedagogical considerations and future research recommendations are discussed.

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“…A number of studies have examined aspects of personality, such as extraversion-introversion, with fi ndings that appear to vary with the samples studied (Bakker, 1988(Bakker, , 1991Buttsworth & Smith, 1995;Cribb & Gregory, 1999;Dyce & O'Connor, 1994;Eysenck & Eysenck, 1975;Gillespie & Myors, 2000;Hammond & Edelmann, 1991;Kemp, 1981Kemp, , 1996Marchant-Haycox & Wilson, 1992;Nettle, 2006a;Reardon MacLellan, 2011;Stacey & Goldberg, 1953;van Staden et al, 2009;Wilson, 1984). Many researchers noted unfavorable personality fi ndings for artists for traits such as neuroticism and emotionality (Bakker, 1988(Bakker, , 1991Dyce & O'Connor, 1994;Gillespie & Myors, 2000;Hamilton, Kella, & Hamilton, 1995;Kemp, 1981;Marchant-Haycox & Wilson, 1992;Nettle, 2006a;Taylor, 1997;Wills & Cooper, 1988).…”

Section: Personalitymentioning

confidence: 99%

Performance Psychology in the Performing Arts

Nordin-Bates

2012

The Oxford Handbook of Sport and Performance Psychology

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Th e central theme of this Handbook is that the psychology of human performance can be studied across multiple domains, not just sport and exercise, and this chapter examines the research base that exists in another performance area: the performing arts. It would be overambitious, perhaps impossible, to do justice to the enormous variety of psychology topics that have potential implications for the performing arts; as such, this chapter focuses on research based in performance psychology, putting the performance of performing artists, suitably, at center stage. Within the limitations of my own training and expertise, I also make links to other areas where I have found them especially appropriate. A key issue addressed in the chapter is whether the approaches and techniques of sport psychology can be successfully used in the domains 5

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A personality study of professional and student actors.

Cited by 14 publications

References 0 publications

The psychology of professional and student actors: Creativity, personality, and motivation

The psychology of professional and student actors: Creativity, personality, and motivation

Comparisons of Personality Dispositions and Genetic Inferences in Groups of Performing Artists

Performance Psychology in the Performing Arts

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