The mind on stage: why cognitive scientists should study acting.

One of the main pleasures of contemporary life is the observation of realistic acting-in dramatic theatre, television comedies, award-winning movies, and pornography. However, realistic acting is relatively new; before the early 20th century, performance was highly stylized, closer to what we would think of as pretense or oration [1]. What goes on in the process of realistic acting? And why do we enjoy it so much? The enactment of characters via religious rituals, myths, theatrical performances, andritesofpassagehasbeen found in every culture. Western theatre is said to have started in 6th century BC Greece when a chorus member, Thespis, separated himself from the chorus and began to act out a single character rather than act as a narrator. Ancient Greek acting was highly stylized, rhetorical and oratory inmanner,with characters thathad inflexiblepersonalities, and dance-like movements that portrayed certain ‘humors’ [2]. It was not until 17th century Elizabethan England that characters had inner states portrayed onstage (via monologues directed to the audience); nonetheless, gestures and actions were still exaggerated with oratorical style and caricature-like portrayal. Up until the early 20th century, romanticism and heightenedmelodrama ruled the day. For a famous actress of the time, such as Sarah Bernhardt, the key to great acting was the histrionic virtuosic ‘force’ of her emotional strength, and the exaggerated power with which she showed emotions to those around her [1]. Update