Abstract

Representation of human conflict is central to theater performance. In our study, we have used self-reported measures of emotional experience and a word recall task, in order to assess the effects of theatrical representations of violence. Forty participants were randomly assigned to the role of performer or spectator, in either a realistic representation of a script or in a version that recollected the same actions of the script in a series of intertwined monologs. The script represented an aggressive interaction between two work colleagues. Our results show both statistically significant differences in the levels of depression and positive emotions reported after enacting the script, as well as differences in the performance on the word recall task containing aggressive related and non-related stimuli. The results point to stronger effects for performing theatrical representations of violent actions, as compared to recollecting or watching such actions. The fact that actors experienced higher positive emotions is in line with the two-pedal model of aggressive behavior. This model suggests that negative emotions toward aggressive behavior might change to positive emotions due to the repetition in performing violent behaviors, as a key for the transition from reactive aggression to appetitive aggression. Other implications for the study of aggression in theatrical representations are discussed.

Highlights

  • Representation of human aggressive behavior is central to theater since its inception

  • In order to assess the effects of theatrical representations of violent actions on performers and spectators based on the type of representation, suggested violence (SV) vs. performed violence (PV), we developed a script based on a violent interaction in a work conflict between two colleagues

  • We looked at the impact that the type of play and role had on the emotional experience of the participants, by analyzing mood changes on the standardized items of the PDA + and the additional one for assessing hostility from Positive and Negative Affective Schedule (PANAS)

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Summary

Introduction

Representation of human aggressive behavior is central to theater since its inception. Dramatic action is based on the representations of conflict. The confrontation of two entities is almost always violent, either at the physical level or, very often, at the psychological level. Aggressive behavior refers to behavior meant to injure or irritate another person (Berkowitz, 1993). One of the main models for human aggressive behavior is the frustration–aggression model, where frustration arises from an obstacle to reach a goal and elicits an aggressive behavior (Dollard et al, 1939; Berkowitz, 1990, DiGiuseppe and Tafrate, 2007). From the perspective of the frustration–aggression model, we can see the development of the theatrical action into violent behavior as arising from the frustration of the protagonist and the antagonist. The social function of violence representation was stated in antiquity by Aristotle through catharsis

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