Exploring Psychological wellbeing in a Sample of Australian Actors

Abstract

Objective:The objective of the current study was to explore what factors might impact the psychological wellbeing of adult, Australian professional actors. Method: Twenty South Australian actors were recruited using purposive and snowball sampling. Ten were male and 10 female, ranging in age from 22 to 66 years old, with self-reported professional experience ranging from 1 to 50 years. The participants were interviewed indepth about their experiences of being an actor, with a particular focus on wellbeing, and the data were analysed using thematic analysis, with numerous checks in place for methodological rigour. Results: Two broad categories of themes were established; environmental and personal factors. Environmental factors included power, lifestyle, fringe-dwelling, engagement, the tribe, and taking care of yourself. Personal factors included pursuit, strengths, the calling, precariousness and looking within. Conclusions: Themes were considered in terms of contemporary wellbeing theory, along with clinical implications relating to the Diagnostic and Statistical Manual of Mental Disorders, 5th edition (DSM5). Findings included: actors experience a range of threats to wellbeing, such as problems with autonomy, lack of environmental mastery, complex interpersonal relationships and high self-criticism. Factors facilitating wellbeing include ongoing personal growth and a sense of purpose. The findings also suggest that actors are vulnerable to depression, generalised anxiety symptoms, vicarious trauma, and perfectionism. What is already known on this topic?1 Research about psychological wellbeing in the performing arts has, historically, been centred on music and dance. In particular, there is a growing evidence base relating to musicians' performance anxiety and the body image of dancers. 2 Studies on actors' wellbeing have been sparse, with limited data, but include evidence of: exposure to criticism, personality fluidity, performance anxiety, unresolved trauma, joy and satisfaction, and self-criticism. A new study in conjunction with Actors' Equity suggests vulnerability to mental health problems. 3 Editorial and narrative evidence related to actors' wellbeing suggests further factors of interest: resilience, employment instability, depression, alcohol and substance use, disordered eating, low help-seeking, and trauma.What this paper adds 1 An account of the experiences of professional Australian actors, divided into environmental and personal factors. 2 Discussion of actors' experiences in relation to contemporary wellbeing theory and the DSM5. 3 Key areas of interest to researchers and clinicians working with actors, including: anxiety, depression, vicarious trauma, perfectionism, alcohol use, loneliness, low help-seeking, and identity issues.

The Relationship Between Occupational Demands and Well-Being of Performing Artists: A Systematic Review

“…Studies contextualised their research within a variety of conceptual frameworks, most frequently aligning with well-being ( n = 4) or occupational stress ( n = 3). Within those studies drawing on well-being frameworks, Robb et al (2018) used a eudaimonic conceptualisation of well-being (Ryff, 2014), Ascenso and Perkins (2013) drew on Seligman's PERMA framework (Seligman, 2011), and Quested et al (2013) aligned with both self-determination theory (Deci and Ryan, 1985, 2000) and basic needs theory (Deci and Ryan, 2000). Of those studies aligned with the occupational literature, a variety of concepts were considered.…”

“…However, jazz musicians and those working in freelance settings discussed opportunities to input into creative and management decisions as positive contributors to well-being (Cooper and Wills, 1989; Dobson, 2010b). Performing artists reflected on the importance of social support for their well-being, identifying the positive benefits of working alongside individuals with a shared interest (Smith, 1989; Robb et al, 2018).…”

“…Extrinsic factors of the reward dimensions of the ERI model (remuneration, job security, career opportunities and esteem) are particularly relevant to performing artists (Cooper and Wills, 1989; Allmendinger et al, 1996; Sandgren, 2002; Mogelof and Rohrer, 2005; Brodsky, 2006; Abeles and Hafeli, 2014; Kenny et al, 2016a; Ascenso et al, 2017; Robb et al, 2018). Questionnaire research suggests that performing artists reported low satisfaction with remuneration (Allmendinger et al, 1996; Kenny et al, 2016a), however qualitative reports recognised that some performing artists were satisfied with being remunerated for a job they valued (Brodsky, 2006).…”

Emotional and Cognitive Responses to Theatrical Representations of Aggressive Behavior

“…A study with a cohort of 800 actors found that they are more affected by depression than the mean population (Maxwell et al, 2015). Some qualitative accounts attribute at least part of this effect to fictional experiences of violence, with actors reporting posttraumatic stress disorder (PTSD)-like symptoms in connection to their work, particularly with the repeated embodiment of scenarios involving rape, physical violence, grief, and suicide (Robb et al, 2018).…”

Compassion Fatigue, Secondary Traumatic Stress, and Vicarious Traumatization: a Qualitative Review and Research Agenda

“…The distinctness of empathy-based strain constructs is unclear as well as the constructs' use in varying professions. In our review of the literature, samples ranging from more traditional caregiving professions such as social workers, therapists, chaplains, and nurses, to more unexpected secondhand trauma-exposed workers such as actors (Robb et al 2016), qualitative research transcriptionists (Kiyimba and O'Reilly 2016), criminal lawyers (Vrklevsiki and Franklin 2008), and sports coaches (Day et al 2013), were represented. Moreover, individuals who were exposed to (secondary) trauma through narratives were included, in addition to individuals exposed to (primary) trauma in violent work contexts (e.g., in "enforcement" professions; Kita 2015) and in nonhuman contexts (e.g., animal care; Rank et al 2009).…”