PSBB097 Psychology of Acting Roles: Emotions, Identity and Boundaries

Faculty of Arts
Spring 2026
Extent and Intensity
1/1/0. 3 credit(s). Type of Completion: k (colloquium).
In-person direct teaching
Teacher(s)
Mgr. Adéla Jedlitschková (lecturer)
Guaranteed by
doc. PhDr. Jaroslava Dosedlová, Dr.
Department of Psychology – Faculty of Arts
Contact Person: Mgr. Kateřina Šefčíková
Supplier department: Department of Psychology – Faculty of Arts
Prerequisites (in Czech)
PSBA003 General Psychology I
Course Enrolment Limitations
The course is only offered to the students of the study fields the course is directly associated with.

The capacity limit for the course is 25 student(s).
Current registration and enrolment status: enrolled: 0/25, only registered: 0/25
fields of study / plans the course is directly associated with
Course objectives
The aim of the course is to introduce students to key psychological processes involved in acting, with a focus on emotional experience and regulation, empathy, role creation, boundaries between the self and the character, and interaction with the audience. The course develops the ability to apply psychological theories to practical situations, understand the impact of role-playing on identity and emotional states, and critically reflect on the psychological aspects of acting within the context of contemporary research. Experiential activities are included to support self-awareness and to help students meaningfully integrate theory with personal experience.
Learning outcomes

By the end of this course, students will be able to: 1. Explain key psychological concepts related to role-playing and acting (identity, empathy, theories of emotion, role and self, flow, parasocial phenomena). 2. Describe the neuropsychological foundations of empathy and mirror neurons in the context of acting and drama therapy. 3. Identify and differentiate risk and protective factors related to psychological strain in actors (boundaries, defense mechanisms.

Syllabus
  1. Introduction: Why Psychology and Roles? Acting as a mirror of the human psyche; roles in everyday life, art, and therapy. Course requirements. Introduction to key concepts.
  2. Roles and Identity: Basic constructs of social psychology. Identity development, role theory, self-presentation. Activity: reflective exercise “My life roles”.
  3. Empathy and Mirror Neurons: Neuropsychological foundations of empathy and interpersonal behavior. Activity: performing brief emotional expressions and observing emotional contagion.
  4. Emotions and Their Regulation in a Role: Emotion theories; acting techniques for emotional work (Stanislavski, Meisner). Activity: “as-if” method. Theory of mind, empathy, emotional transfer; activity: “playing from another perspective”.
  5. Boundaries Between Role and Self: Psychological distance, “role vs. self” concept, defense mechanisms, and healthy separation of character from personal identity. When can a role be enriching, and when does it become a burden? Recognizing saturation.
  6. Flow: Csíkszentmihályi’s concept of flow in artistic and everyday contexts. Activity: improvisation and flow experience.
  7. Drama Therapy I: Role as Self-Exploration: Foundations of drama therapy, playing assigned roles and reflecting on their impact. Acting theories and their critical evaluation from a psychological perspective; risks in the acting profession.
  8. Authenticity and Truthfulness in a Role: Rogers’ concept of authenticity; “truth” on stage and in therapy. Activity: authentic vs. acted responses.
  9. Parasocial Phenomena and the Role of the Audience: Fans, audiences, media personas, and the distinction between the actor and the character. Discussion + reflection from the “spectator’s” perspective.
  10. Drama Therapy II & Crisis Intervention: Role of Helper and Victim: Application of role-play in psychological practice (crisis intervention training, stress management, helping roles).
  11. Roles That Transform Us: Course summary, sharing and reflection on personal role experiences during the course; integration of theory and personal insight.
  12. - 13. Presentations: Final group presentations.
Literature
    recommended literature
  • Arias, G. L. (2019). In the Wings: Actors & Mental Health – A Critical Review of the Literature. Lesley University.
  • Cinque, S., Nyberg, D., & Starkey, K. (2021). ‘Living at the border of poverty’: How theater actors maintain their calling through narrative identity work. Human Relations, 74(11), 1755-1780.
  • Goldstein, T., & Bloom, P. (2011). The mind on stage: Why cognitive scientists should study acting. Trends in Cognitive Sciences, 15, 141-142.
  • Guo, Y. (2022). What Is Acting?. The Journal of Aesthetics and Art Criticism, 80(1), 58-69.
  • Hatami, N. (2023). Living the lives of others: How actors experience playing characters on stage and how the characters affect them (Doctoral dissertation, Birkbeck, University of London).
  • Chekhov, M. (2002). To the Actor: On the Technique of Acting. Routledge.
  • Robb, A., Due, C., & Venning, A. (2018). Exploring psychological wellbeing in a sample of Australian actors. Australian Psychologist, 53(1), 77-86.
  • Robb, A. E., & Due, C. (2017). Exploring psychological wellbeing in acting training: an Australian interview study. Theatre, Dance and Performance Training, 8(3), 297-316.
  • Seton, M. C. (2010). The ethics of embodiment: Actor training and habitual vulnerability. Performing Ethos: International Journal of Ethics in Theatre & Performance, 1(1), 5-20.
  • Siegel, D. J. (2018). Všímavý terapeut: vnitřní nazírání a nervová integrace-příručka pro klinickou praxi. Maitrea.
Teaching methods

Lectures, discussions, work with specialized literature, group work, self-experiential exercises

Assessment methods

Requirements for Completion: 1. Active Participation (minimum attendance of 80%) 2.Essay – analysis of acting performance/expression 3. Analysis of a specialized article (nebo Analysis of a scholarly article)

Form of Examination/Completion: The colloquium will take place in the form of a joint discussion over a selected theatre performance and its connection to the theories covered.

Language of instruction
Czech
Further Comments
Study Materials
The course is taught each semester.
The course is taught every week.
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