Social Cognitive Skills And Acting Talent

Dramatic play permits children to fit the reality of the world into their own interests and knowledge. One of the purest forms of symbolic thought available to young children, dramatic play, contributes strongly to the intellectual development of children. Young children learn by imagining and doing and dramatic play allows them to do so. Dramatic play also promotes the use of speaking and listening skills. When children take part in this type of play, they practice words they have heard others say, and realize that they must listen to what other “players” say in order to be able to respond in an appropriate fashion. This style of play also promotes the development of social skills through interaction with others, peers or adults, which is a necessary factor in a child’s future.

The social element of symbolic play is a vital aspect to be taken into account in the cognitive development of children. Vygotsky (1978) theorised that children learn and practice social skills with their parents, and they develop this learning through social interactions. Piaget also emphasised the significance of social interaction so the child can progress outside of their egocentrism that is linked to the pre operational stage. (London, 2001) Similansky 1968 also supported Piaget theory, and studied the impact that symbolic play has on children’s cognitive and social development. The Smilansky scale developed by Smilansky and Shefatya in 1990 assesses the child’s maturity through socio-dramatic play, identifying five elements.

Emotional contagion is an act where people receive and mimic emotions of others. This includes the imitation of “facial expression, vocal, postures and behavior of those around them” (Hatfield, Cacioppo, Rapson, 1993). Emotional contagion happens unconsciously; a person who is not afraid of ghost might get scared from watching a horror film because their friends get very involved with the content. Mass communication depends on emotional contagious as it is a key to successful advertisements, political campaigns and films. There will be several real life examples provided so that readers can have a better understanding towards emotional contagion.

Cognitive skills are advancing rapidly during the school-age years; and with cognitive development, children begin to recognize their own feelings while also understanding other

Hochschild’s discussion of feelings allows us to understand how our feeling provides us with the bearings and guidance we need to reach a sense of both subjectivity and objectivity. The next question is: what do we do with this knowledge? According to Hochschild, we need to manage our feeling, either by surface or deep acting, in order to manage our display of feeling in the world. Hochschild (2003, p. 35) is convinced that all of us do a certain amount of acting, that self is performed. In understanding how surface and deep acting is accomplished, and in explaining its connection to emotion, Hochschild used the work of Stanislavski (1965), who is known as the father of ‘method acting’.

Play is often undervalued for the benefits it can provide. It is often set aside as an activity that has the sole purpose of releasing a child’s copious amounts of energy. In opposition to this common fallacy, we must recognize the important skills and life lessons that are derived from the foundations of play. In the earliest stages of child development, play serves as a capacity to have imaginary friends and explore alternative worlds. Through this medium child are learning what people are like, the modes through which they think, and the kinds of things people do. Research done by the National Association for the Education of Yong Children has explored the use of how dramatic play produces “documented cognitive, social, emotional benefits”. For children in their early stages of development, they learn the tools needed to interact with their peers and how to appropriately engage in multiple environments and situations. Through these first, early interactions with play, children learn how to have successful social interactions, preparing them for their time outside of the classroom.

I can try though. Feeling another person’s pain or joy brings me to these emotions with a choice. Do I accept these as my own? Are they “my character” or “me?” Sometimes there isn’t a difference. However, I always know that pure excited emotion is who I am and why I love acting’s idea. I am a shy person. Which is why I have gravitated towards acting so much. What is the actor’s job? What does he do? Well, acting is being real, interesting, and conveying specific emotions towards the

Despite the various flaws, schools are extremely important for students especially on a social stand point. They can be around children their own age and interact in various scenarios. Socializing is important for children of all ages, it helps them develop listening skills, communication skills, how to share, how to work in groups, and compromise. Every interaction a child has is a learning experience. They learn what is right or wrong and how to communicate appropriately, social interaction plays a key role in cognitive development. Lev Vygotsky was a cognitive theorist who believed social interaction and imaginative play were critical in child development. “Imaginative play is actually a complex process

On the other hand deep acting is the opposite. This is where you control your internal emotions to direct them to the emotive situation needed and rather than feel like you're pretending, you convince yourself you feel that actual emotive display. An example of this is when a social caseworker may imagine themselves in the same position as a parent under investigation for child abuse to summon feelings and better convey empathy (e.g., Totterdell & Holman,

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.

This skill has been worked up through watching and working with different directors, which I have gotten the chance to do through my advanced theatre group and movie roles I have taken on. This has given me a broaden view of how you can come about as a director.

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

Because imagination play with a character involves the child often imagining how another person (or character) would act, research has been done to determine if having an imaginary companion has a positive effect on theory of mind development. In a previous study, Taylor & Carlson (1997) found that 4 year – old children who had imaginary friends scored higher on emotional understanding measures and that having a theory of mind would predict higher emotional understanding later on in life. When children develop the realization that other people have different thoughts and beliefs other than their own, they are able to grow in their development of theory of mind as they begin to have better understandings of emotions. In a study conducted by Dr. Gleason, the developmental significance of preschool children's imaginary companions was examined. Mothers of 78 preschool aged children were interviewed about their children's social environments and imaginary companions. The data revealed differences between invisible companions and personified objects (stuffed animals or dolls) in terms of the IC’s stability, identity, and relationship with the child. Relationships with invisible companions were mostly described as sociable and friendly, whereas personified objects were usually nurtured. The mothers reported that personification of objects

We know that young children develop social skills through play, and that they develop critical thinking skills and language is enriched and vocabulary increased. Play, especially make-believe play, aids in the child's development of the execution function, which is a key role in the child's ability to self-regulate. The curriculum "Tools of the Mind" approaches learning as socially mediated by peers and focused on play.

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.