Exploring Theater Neuroscience: Using Wearable Functional Near-infrared Spectroscopy to Measure the Sense of Self and Interpersonal Coordination in Professional Actors

Ecologically valid research and wearable brain imaging are increasingly important in cognitive neuroscience as they enable researchers to measure neural mechanisms of complex social behaviors in real-world environments. This article presents a proof of principle study that aims to push the limits of what wearable brain imaging can capture and find new ways to explore the neuroscience of acting. Specifically, we focus on how to build an interdisciplinary paradigm to investigate the effects of taking on a role on an actor's sense of self and present methods to quantify interpersonal coordination at different levels (brain, physiology, behavior) as pairs of actors rehearse an extract of a play prepared for live performance. Participants were six actors from Flute Theatre, rehearsing an extract from Shakespeare's A Midsummer Night's Dream. Sense of self was measured in terms of the response of the pFC to hearing one's own name (compared with another person's name). Interpersonal coordination was measured using wavelet coherence analysis of brain signals, heartbeats, breathing, and behavior. Findings show that it is possible to capture an actor's pFC response to their own name and that this response is suppressed when an actor rehearses a segment of the play. In addition, we found that it is possible to measure interpersonal synchrony across three modalities simultaneously. These methods open the way to new studies that can use wearable neuroimaging and hyperscanning to understand the neuroscience of social interaction and the complex social-emotional processes involved in theatrical training and performing theater.

Automated summary

This study utilized wearable brain imaging technology and wavelet coherence analysis to investigate the effects of taking on a role on an actor's sense of self and interpersonal coordination in real-world environments. The findings suggest that an actor's response to their own name is suppressed during rehearsal and that interpersonal synchrony can be measured across different modalities simultaneously.