Correlated expression of the body, face, and voice during character portrayal in actors

Actors are required to engage in multimodal modulations of their body, face, and voice in order to create a holistic portrayal of a character during performance. We present here the first trimodal analysis, to our knowledge, of the process of character portrayal in professional actors. The actors portrayed a series of stock characters (e.g., king, bully) that were organized according to a predictive scheme based on the two orthogonal personality dimensions of assertiveness and cooperativeness. We used 3D motion capture technology to analyze the relative expansion/contraction of 6 body segments across the head, torso, arms, and hands. We compared this with previous results for these portrayals for 4 segments of facial expression and the vocal parameters of pitch and loudness. The results demonstrated significant cross-modal correlations for character assertiveness (but not cooperativeness), as manifested collectively in a straightening of the head and torso, expansion of the arms and hands, lowering of the jaw, and a rise in vocal pitch and loudness. These results demonstrate what communication theorists refer to as “multichannel reinforcement”. We discuss this reinforcement in light of both acting theories and theories of human communication more generally.

The dynamic mask: Facial correlates of character portrayal in professional actors

Actors make modifications to their face, voice, and body to match standard gestural conceptions of the fictional characters they are portraying during stage performances. However, the gestural manifestations of acting have not been quantified experimentally, least of all in group-level analyses. To quantify the facial correlates of character portrayal in professional actors for the first time, we had 24 actors portray a contrastive series of nine stock characters (e.g., king, bully, lover) that were organised according to a predictive scheme based on the two statistically independent personality dimensions of assertiveness (i.e., the tendency to satisfy personal concerns) and cooperativeness (i.e., the tendency to satisfy others’ concerns). We used three-dimensional motion capture to examine changes in facial dimensions, with an emphasis on the relative expansion/contraction of four facial segments related to the brow, eyebrows, lips, and jaw, respectively. The results demonstrated that expansions in both upper- and lower-facial segments were related to increases in the levels of character cooperativeness, but not assertiveness. These findings demonstrate that actors reliably manipulate their facial features in a contrastive manner to differentiate characters based on their underlying personality traits.

The "Who" System of the Human Brain: A System for Social Cognition About the Self and Others

Neuroscientists are fond of talking about brain systems for the processing of "what" and "where" information about objects and their locations. What is critically missing is the concept of a "who" system dedicated to the neural processing of information about social agents-both the self and others-and their interactions. I propose here the characterization of such a system, one that functions not only in perception but in production as well, such as when recounting stories about oneself and others. The most human-specific features of the "who" system are two complementary systems that I refer to as the other-as-self mechanism and the self-as-other mechanism. The major function of the other-as-self mechanism is to perceive other people egocentrically as proxies of the self, as occurs through the processes of mentalizing and empathizing in both everyday life and in the experience of the theatrical and literary arts. The major function of the self-as-other mechanism is to overtly depict other people during acts of communication through vocal and gestural processes of mimicry, such as occurs during quotation in conversation and through acting in the theatrical arts. Overall, the "who" system of the human brain mediates both perceptual and behavioral aspects of social cognition, and establishes the existential distinction between self and other in human cognition. I present neural models for the instantiation of the "who" system in the human brain and conclude with a discussion of how narrative serves as a foundation for human cognition more generally, what I refer to as narrative-based cognition.