A psychological study of Chilean actors’ views of their art

Marinovic, Mimí; Carbonell, Elina

doi:10.1016/s0197-4556(00)00064-2

Cited by 2 publications

(1 citation statement)

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“…Moreover, it is important to distinguish between pathologizing theatre actors and understanding the unconscious and conscious artistic processes operative in the craft of acting. Marinovic and Carbonell (2000), for instance, studied 34 female and 42 male Chilean professional actors' conceptions of acting, their motives for acting and their perceived role in theatre production. Many participants described the artistic process entailed in acting as 'a living communal art form' (p. 247), produced by collective effort.…”

Section: Actors Pathologizedmentioning

confidence: 99%

A Theatre Acting Perspective on the Dramaturgical Metaphor and the Postmodern Self

Walsh‐Bowers

2006

Theory & Psychology

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Based on the premise that a psychology of theatre acting can teach psychologists about social acting, I evaluate Goffman’s influential dramaturgical metaphor and discuss what theatre acting reveals about conceptions of the self. Within Goffman’s model, differences between the quotidian and theatre worlds are accidental and daily life is like theatre actors’ life on stage. First, I assess how well this version of the drama-turgical metaphor accounts for both theatre acting and social interaction. The complexly layered, psychological aspects of theatre acting reveal the limitations of Goffman’s model. The second critical issue pertains to the implications of a psychology of theatre acting for conceptions of the self. The flexible, relational nature of theatre actors’ multiple ‘selves’ challenges psychologists’ literalist applications of dramaturgy to social actors as well as essentialist conceptions of a core self, while complementing postmodern notions of relational selves.

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Section: Actors Pathologizedmentioning

confidence: 99%