Abstract
This study aims to examine how acting skills develop by comparing actors at three expertise levels. Actors played four scenes: “not having any pain.” “suffering pain,” “pretending to feel pain,” and “pretending not to feel pain.” Their performances were videotaped, and then rated by 46 (Study 1) and another 40 (Study 2) university students. Study 1 revealed that the less experience actors have, the easier it was for the participants to identify the specific scene they were playing. Study 2 indicated that less experienced actors might be so conscious of the audience that their performances are exaggerated, whereas the subtleties involved in the high-quality acting of experienced actors may make their intentions less clear to the audience. The findings suggest that it is important to act in accordance with what is needed in the scene, taking not only the audience but also the setting as a whole into account.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Ando H (2002) Engeki no jukutatsuka: kyakuhon no yomitori kara engi-keikaku, engisuikou made. [The expertise of an actor: script reading, performance planning, and actual performance.] Jpn J Psychol 73:373–379
Ando H, Koyasu M (2004) Engeki keiken no umu ni yoru mikaku hyoujou no hyoushutsu narabini engi no sai. [Differences in facial expressions of tastes between actors and laypersons.] Cognit Studies 11:61–74
Bieri D, Reeve RA, Champion GD, Addicoat L, Ziegler JB (1990) The Faces Pain Scale for the self-assessment of the severity of pain experienced by children: development, initial validation, and preliminary investigation for ratio scale properties. Pain 41: 139–150
Brockbank P (1985) Introduction: Abstracts and brief chronicles. In: Brockbank P (ed) Players of Shakespeare: essays in Shakespeare an performance by twelve players with the Royal Shakespe are Company. Cambridge University Press, Cambridge, pp 1–10
Craig KD (1992) The facial expression of pain: better than a thousand words? Am Pain Soc J 1:153–162
Ericsson AK (1996) The acquisition of expert performance: an introduction to some of the issues. In: Ericsson KA (ed) The road to excellence: the acquisition of expert performance in the arts and sciences, sports and games. Erlbaum, Mahwah, NJ, pp 1–50
Feltovich PJ, Spiro RJ, Coulson RL (1997) Issues of expert flexibility in contexts characterized by complexity and change. In: Feltovich PJ, Ford KM, Hoffman RR (eds) Expertise in context: human and machine. MIT Press, Cambridge, MA, pp 125–146
Jacox AK (1980) The assessment of pain. In: Smith WL, Merskey H, Gross SC (eds) Pain: meaning and management. SP Medical & Scientific, New York, pp 75–88
McPherson SL, Thomas JL (1989) Relation of knowledge and performance in boys’ tennis: age and expertise. J Exp Child Psychol 13:307–325
Melzack R (1975) The McGill Pain Questionnaire: major properties and sourcing methods. Pain 1:277–299
Noice T, Noice H (1997) The nature of expertise in professional acting: a cognitive view. Erlbaum, Mahwah, NJ
Poole GD, Craig KD (1992) Judgments of genuine, expressed, and faked facial expressions of pain. J Pers Social Psychol 63:797–805
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2008 Springer
About this chapter
Cite this chapter
Ando, H., Koyasu, M. (2008). Differences Between Acting as if One Is Experiencing Pain and Acting as if One Is Pretending to Have Pain Among Actors at Three Expertise Levels. In: Itakura, S., Fujita, K. (eds) Origins of the Social Mind. Springer, Tokyo. https://doi.org/10.1007/978-4-431-75179-3_6
Download citation
DOI: https://doi.org/10.1007/978-4-431-75179-3_6
Publisher Name: Springer, Tokyo
Print ISBN: 978-4-431-75178-6
Online ISBN: 978-4-431-75179-3
eBook Packages: Behavioral ScienceBehavioral Science and Psychology (R0)