Dramatic Arts and Neuroscience: Evaluating the Artist-Audience Connection by Scientific Tools

Document Type : Research Paper

Authors

1 Associate Prof.

2 PhD cand.

3 M.D., Ph.D., Cognitive Neuroscience, School of Behavioral Sciences and Mental Health, Tehran Institute of Psychiatry, Tehran, Iran

Abstract

Fine arts form a communication system between artist and viewer, represented in a manner not afforded by language alone. Neuroscience of Art is a new interdisciplinary field which explores scientifically the neural basis for perceiving the emotional content embedded in a piece of art -e.g., a literary text or performance- as a form of cognitive task to be processed by the neural network of human brain. Drama, per se, entails a wide range of elements such as, plot, character, dialogue, symbolism, genre, rhythm, and theme, all of which as a non-reducible whole, leads to emotional arousal of the audience. The positive or negative valence of emotional stimulus (such as, happiness or sadness, respectively) as well as its power to dominate the viewer (e.g., to make the audience feel scared or surprised) may impose limits on higher cognitive functions in the brain, namely, attention and memory, in such a way that the sensory data of a neutral scene be ignored by the brain cortex under the impression of either an earlier or a later dramatic event. Suspense, mind reading, and empathy with the protagonist of drama are but a few states of mind which the audience experience during sustained attention on a well-directed or written piece. This experience may well cause and/or reflect significant electrophysiological changes in the nervous system of the audience, an outcome which further lets the affective and social prospects of neuroscience come into view, specifically if the event holds at a theatre hall -as one of the best models for real life society. The most important matters of fact are (i) human neural system has a limited capacity for letting in the sensory data over a timespan, which permits only part of the surrounding data enter the sensory network of the brain, and (ii) the higher cognitive procedures mentioned above do not usually happen at the conscious level, yet often subconsciously or even at the non-conscious level. While this latter fact may disturb psychologists who assess mental states and behavior of the audience by means of traditional techniques (such as, questionnaires, interviewing, and observation), neuroscientists get the chance to keep a robust track of the spatial and temporal changes in the brain of an individual engaged with a piece of art. Brain-Mapping techniques (such as fMRI, qEEG and ERP), as well as Eye-tracking and Autonomous Nervous System monitoring may help researchers from two disciplines of Arts and Cognitive Neuroscience achieve a common insight of the influence of performing arts on the immediate neural response of the audience. Main goal of this review is to reveal such common basis and the multidisciplinary path that is underway by the current team of researchers who aim (at a later time) to focus on imaging the viewers’ brain function during watching different parts of a dramatic work, in order to answer the questions ‘which part of a performance may dominate the attentional network of the brain, be significantly memorized, and better recalled in the future, and why does it happen so?’

Keywords

References

شیکسپیر، ویلیام (1392)، مکبث، مترجم: عبدالرحیم احمدی، نشر قطره، تهران.
Altmann, U & Jacobs, A. M (2012), The power of emotional valence: from cognitive to affective processes in reading, Frontiers in Human Neurosci., 6, pp. 192-206.
Astolfi, L; Fallani, V & Babiloni, F (2008), Brain activity related to the memorization of TV commercials, Int. Jour. Bioelectromagnetism, Vol 10, No. 2, pp. 77-86.
Bechtel, W & Abrahamsen (2001), Cognitive Science History, Elsevier Science, Oxford.
Brouwer, A.M(2015), Physiological Signals Distinguish between Reading Emotional and Non-Emotional Sections in a Novel, Brain-Computer Interfaces.
Ekman, P & Davidson, R.J (1994), The Nature of Emotion: Fundamental Questions, Series in Affective Science, 1st ed. Oxford University Press.
Furman, O & Hasson, U (2007), They saw a movie: Long-term memory for an extended audiovisual narrative, Learning and Memory, 14 (6), pp. 457-67.
Hasson, U & Heeger, D.J (2008), Neurocinematics: The Neuroscience of Film, Projections, 2 (1).
Hsu, C. T & Jacobs, A.M (2015), Can Harry Potter still put a spell on us in a second language? An fMRI study on reading emotion-laden literature in late bilinguals, Cortex., 63, pp. 282-95.
Jacobs, A.M (2015), Towards a neurocognitive poetics model of literary reading, In: Willems R., Towards a cognitive neuroscience of natural language use, Cambridge University Press.
Keidel, J.L & Thierry, G (2013), How Shakespeare tempests the brain, Cortex, 49, pp. 913-9.
Kagna, D & Kima, A (2015), Investigation of engagement of viewers in movie trailers using electroencephalography, Brain-Computer Interfaces, Vol. 2, Issue 4.
Langdale, A (2013), Munsterberg on Film, The Photoplay: A Psychological Study, Routledge, N.Y.
Levy, L.M (1997), Functional MRI of human olfaction, J. Comput. Assist. Tomogr, 21, pp. 849–856.
Lichtenstein, E.H & Brewer, W.F (1982), Stories are to entertain: A structural-affect theory of stories, Journal of Pragmatics, vol. 6, pp. 473–486.
McKechnie, S & Stevens, C (2005), Thinking in Four Dimensions, Creativity and Cognition in Contemporary Dance, Melbourne University Press, pp. 107-121.
Oatley, K & Mar, R.A (2009), Exploring the Link between Reading Fiction and Empathy: Ruling out Individual Differences and Examining Outcomes, Communications, 34 (4), pp. 407–428.
Panksepp, J (2010), Affective neuroscience of the emotional BrainMind: evolutionary perspectives and implications for understanding depression, Dialogues Clin Neurosci, 12 (4), pp.533-545.
Pulvermueller, F (2015), Lost for emotion words: what motor and limbic brain activity reveals about autism and semantic theory, Neuroimage, 1(104), pp. 413-22.
Ramachandran, V.S (2005), Plasticity & Functional Recovery in Neurology, Clin. Med (5), pp.368-73.
Rayner, K (1998), Eye movements in information processing, Psychol Bull, 124 (3), pp. 372-422.
Scarry, E (1998), On Beauty and Being Just, The Tanner lectures on human values, Yale University.
Schmeichel, B J (2007), Attention control, memory updating, and emotion regulation temporarily reduce the capacity for executive control, Experimental Psychology: General, 136 (2), pp. 241-255.
Shimamura, A.P (2013), Psychocinematics: Exploring Cognition at the Movies, Oxford University Press, NY.
Sullivan, L (1976), Selective attention and secondary message analysis: A reconsideration of Broadbent's filter model of selective attention. J. Experimental Psychology, 28 (2), pp. 167-178.
Vecchiato, G & Babiloni, F (2013), Neurological Brain Imaging and Tools for the Study of the Efficacy of Advertising Stimuli, Biosystems & Biorobotics, Springer, Vol. 3.
Virtue, S (2008), Inferences during story comprehension: Cortical recruitment affected by predictability of events and working memory capacity, J. Cognitive Neuroscience, 20, pp. 2274–84.
Williams, J & Stoenner, C (2016), Cinema audiences reproducibly vary the chemical composition of air during films, Nature Scientific Reports, (6), pp.254-64.
Zaidel, D.W (2016), Neuropsychology of Art: Neurological, Cognitive, and Evolutionary Perspectives. 2nd ed., Routledge, N.Y.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Journal of Fine Arts: Performing Arts & Music
Volume 23, Issue 2
June 2018
Pages 49-60

Files

Share

How to cite

Statistics