Emotional Labour Gender

In The Managed Heart Hochschild focuses on emotional labour: managing one 's emotions in the work place because it is one 's job to do so. While she touches on some benefits of emotion management, her book focuses on the dangers of losing one 's true self when one 's employer can control how one feels. Her main subjects are bill collectors and flight attendants, both are expected to have extreme (and opposite) emotions on the job.

Surface acting is faking the emotions through outward expressions whilst the internal feelings are the same whereas deep acting is the process where the employee aligns their internal feelings to that of the organisation (Mastracci, Guy, & Newman, 2012). Although both require different thought processes, the objective is the same, to align the outward expression to that of the company’s

Where as the same study showed that men who use anger were given the chance to justify their emotion by the situation they are put in and not judged unfairly (Kreamer). The stereotype that women are sensitive and nurturing has enabled them to be seen as competitors in the business world and because of this study they now feel the need to refrain from displaying their emotions completely to be seen as a competitive candidate for a job. “Emotionality at the workplace is not a female issue, men and women are equally driven by it, even if the emotions are sometimes expressed differently” (Kreamer).

Human emotions have always been a complex concept. Acting attempts to break these feelings down into staggered breathing or tingling hands or fluttering stomachs. The main goal of every actor is understanding a character’s actions so fluently that they can understand their thoughts. Understanding the things that no one else can know, what to some audiences is irrelevant, but to the character is crucial. Knowing these actions requires being aware of the emotions that fuel them. Without this emotional foundation, actions become mechanical and meaningless.

Emotional Labor is a term coined by Arlie Hochschild (2012) in The Managed Heart: The Commercialization of Human Feeling as the action of having to controlling one’s emotions and following what she classifies as “feeling rules” for the purpose of getting paid (Hochschild 2012: 7). Feeling rules can be defined as rules that dictate and teach us what feeling is or is not appropriate in a particular social setting

A concept of “emotional competency” Carol Saarni (1990) articulates involves awareness of our own emotions, including multiple emotions experience simultaneously, the ability to recognize and empathize with others’ emotions, awareness of the impact of our expression of emotions on others, and sensitivity to cultural rules for expressing emotions (as cited in Wood, J. T., 2010, p. 171) I felt mirrored a personal and career mission statement of mine.

Your objestive is a sure possible way to move your audience. Make your self cry dose nothing for the audience there is know emotion behinde it. Lots of people can make them self cry but most people can’t move a audience. If you have a good ehough objective and you play is with furiious passion, the emotion will come through to the audience. iT is the homework you do with your character that is the most important step if your imargy is there so will the emotion. Emotional trigger is the “somthingting “ inside of you that trigger some sort of real emotoion. When you find your are blocked. Emotoncan be a phycial gesture, sensororial memory or complety from your imagion. It basically cn be anything that triiger

Sociologist Arlie Hochschild, author of The Managed Heart argues that modern societies demand emotional labor, particularly in the service sector, where she described it as, ”management of feeling to create a publicly observable facial and bodily display … sold for a wage.” This term can apply to a variety of professions, but it is most often used to reference to the sort of attitude management which occurs primarily in minimum-wage service jobs. This regulation of emotion is used to maintain a professional appearance even in the face of a dissatisfied patron. In order to examine the nature of emotional labor, feeling rules and gender roles I conducted a personal one-on-one interview with someone who has prior and current experience working in the service job industry. Her name is Sasha Turk and she is a Female, 26 years old, born in San Francisco who self identifies as an American with a White/Filipina background and is a College Graduate with Degree in Anthropology, recently married with no children. She is currently employed at Discount Dance Supply as a Retail Sales Associate, for what she describes as minimum wage. The store primarily sells goods for dancers and entertainers as well as athletic equipment for training. Sasha also has years of experience working as a part of the catering/serving business for the stadiums of the Warrior 's, Oakland A 's and Raiders

Emotional labor is when an employee has to control and hide their feelings and emotions whole at work. Jobs that involve emotion labor include, nurses, ems, morticians, and dispatchers. A time I was put in this situation is when my boyfriend passed away and I still had to go to work. I am a server and bartender and that’s how I made my money to pay bills and take care of my needs. Missing days on end of work hurts when I am in need of money. It was hard to have to do that but like the meaning of emotional labor this was what I had to do while at work, hide my feelings and emotions. Emotional dissonance is when there is a negative feeling that is being established within a person who is observing their emotions as a possible problem with their identity. Potential consequences with emotional dissonance include job dissatisfaction which leads to lack of performance or interest. Ways that organizations can help minimize this would include social support and teaching problem solving

Emotional memory and sense memory are crucial to the acting process because they allow actors to organically and realistically feel emotions and sensations when acting as a character. Actors want their emotions onstage to be real, but recalling or remembering an emotional event from their own life may cause them to lose control of their emotions and break character. Therefore, to recall emotion onstage, an

Societies have different expectations on individuals based on their sex. People, often, adapt to these expectations. As a result, they feel like these stereotypical beliefs are how a person should present his/her self. Two theories that can explain this is gender socialization and emotion work. Both of these theories can explain how men and women are expected to act in consideration to presentation of

emotional labor is often called being polite, it is a near universal part of every job and of life. Nevertheless, the level to which individual performances makes a meaningful difference. An individual can “deep act” in a manner that is still related with one’s core values and beliefs at work (“Yes, the customer is being patronizing, but I empathize with her and care about solving her problem”) or “surface act” (“I’ll be nice, but deep down I’m really spitting nails”). There are two distinguishing strategy for emotional labor: the deep acting and the surface acting. Surface acting is modifying the displayed emotion while the deep acting involves altering actual emotional state. Research show that engaging to emotional labor leads to poor health,

Emotional labor as a social science construct began with the publication of The Managed Heart: The Commercialization of Human Feeling (1983), in which Arlie Hochschild (a sociologist) opined on the silent commoditizing of workers’ emotions. Hochschild stated: “I use the term emotional labor to mean the management of feeling to create a publicly observable facial and bodily display; emotional labor is sold for a wage and therefore has exchange value” (p. 7). As opposed to emotional regulation more generally, which may occur in any context, Hochschild’s stipulation that emotional labor is procured “for a wage” indicates that it occurs only when employees are engaged in a work context. She also implicitly questioned the ethics of such a practice, in stating: “In a capitalist, postindustrial culture, what [the commoditization of emotions] means, I think, is that a commercial logic will penetrate deeper and deeper into what we used to think of as a private, psychological, sacred part of a person 's self and soul.” (1993, p. 333, see also Grandey, Rupp, & Brice, in press). Whereas the basic tenets of Hochschild’s early propositions have tended to persist within the literature over the years, interpretations and applications of the construct have diversified widely. What has resulted are three unique “lenses” through which emotional labor has been viewed within the literature (for a full

213). As a whole, society tends to mirror the emotions of the person who is speaking or of the person who is playing a part. If a person goes to a play and the actors are experiencing fear, than the people who are watching the play will tend to experience that same fear. If one actor is mad at another actor, than the people watching the play will either experience that same emotion of anger or they will side with the other actor and experience the emotion that the other actor is feeling, whether it be uncertainty about why the other actor is mad at them or a feeling of sadness because the other actor is mad at them. Imitating others emotions happens all the time in society and as long as there is communication between people, whether it is verbal or nonverbal, this catching of emotions will continue.

rather he gave me a cuddle that makes me feel warm and secure - I tell