While Dubourg and Baumard argue that predisposition toward exploration draws us to fictional environments, they fail to answer their titular question: “Why Imaginary Worlds?” Research in pretend play, psychological distancing, and theatre shows that being “imaginary” (i.e., any type of unreal, rather than only fantastically unreal) makes exploration of any fictional world profoundly different than that of real-life unfamiliar environments.

That facial expressions are universal emotion signals has been supported by observers agreeing on the emotion mimed by actors. We show that actors can mime a diverse range of states: emotions, cognitions, physical states, and actions. English, Hindi, and Malayalam speakers viewed 25 video clips and indicated the state conveyed. Within each language, at least 23 of the 25 clips were recognised above chance and base rate. Facial expressions of emotions are not special in their recognisability, and it is miming (...) that may be the universal human ability. (shrink)

Acting classes and theatre education have long been framed as activities during which children can learn skills that transfer outside the acting classroom. A growing empirical literature provides evidence for acting classes’ efficacy in teaching vocabulary, narrative, empathy, theory of mind, and emotional control. Yet these studies have not been based in what is actually happening in the acting classroom, nor on what acting teachers report as their pedagogical strategies. Instead, previous work has been unsystematic and fragmented in its measured (...) transfer outcomes, and absent mechanistic explanation. Expanding research on this topic requires more grounding in teachers’ beliefs about the acting classes they teach, as well as observation of the classes themselves. As a first step, we surveyed 173 acting teachers online, asking them about the activities within acting classes they believed caused change in their students, as well as which outcomes they believed were changed as a result of acting classes. Teachers taught across educational levels (elementary to professional) and had a variety of training in teaching acting. Overall, teachers rated almost every activity within classes as important for and causing impact on students, and almost every outcome as being positively influenced as a result of acting class. When forced to rank order outcomes, teachers focused on collaboration, communication, creativity, confidence, and empathy as most likely to change. Teachers rated importance of class activities and outcomes differently depending on what level they taught. This study shows the difficulty of surveying highly motivated teachers, given the globally high rankings, but also proposes candidate psychological skills likely to change as a result of acting classes, and the mechanistic behaviors that may cause change. (shrink)

Distancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.

In this paper, we argue that in order for the study of arts education to continue to advance, we must delineate the effects of particular forms of arts education, offered in certain contexts, on specific domains of children’s socioemotional development. We explain why formulating precise hypotheses about the effects of arts education on children’s socioemotional development requires a differentiated definition of each arts education program or activity in question, as well as a consideration of both the immediate and broader contexts (...) in which that program or activity occurs. We then offer the New Victory Theater’s Schools with Performing Arts Reach Kids program as an illustrative example of how these considerations allow for the refinement of hypotheses about the impact of arts education on children’s socioemotional development. (shrink)

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We describe imaginative play in adults via the term “pretensive shared reality;” Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be explored and invented/embellished with (...) shared intentionality in anad hocmanner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self-concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. We draw on multiple examples, and focus on Table-Top Role Playing games (TTRPG) – and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) – as a primary example of such play. Our conception of “pretensive shared reality” links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities – which underpin many forms of imaginative culture – are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains. (shrink)