_____ Sp Soc Int J Ph Ed Sp 2012 - Volume 13 - Issue 1______

AFFECTIVITY IN THE ATHLETES AND THE ACTORS

PERFORMANCE
Lee A.C. (Ana-Cristina Lee)1
1
G. Enescu University of Arts, Iai
E-mail: analese2000@yahoo.com
Abstract
This paper aims at highlighting similarities in the actors education and the athletes training for professional
performance, focusing on the mental component of affectivity. To this end, a parallel is made between the fundamental
elements of psychological training as described by several famous authors from the fields of Physical Education and
Sport, and, respectively, Theatre, including Mihai Epuran, Michael Chekhov and K.S. Stanislavski. Although closely
related to other psychological phenomena, affective processes are more pronounced in the athlete and the actor than in
individuals in other professions. The analysis of this psychological component in the two areas addressed by this paper
focuses on the mind-emotion relationship. This relationship may take a positive or a negative turn, also depending on
the preparation of the previous processes: self-confidence and thought (inner speech). Data collected from sports and
theatre studies about the quality of the external manifestations of the body obtained by proper mental development
provide arguments supporting the affinity on the psycho-physical training in both the athlete and the actor.
Keywords: psychological training, theatre, sport, mental training.

Affectivitys importance in sport and theatre performance

Affectivity is the mental process that affords sensitivity and beauty to sports in general, as well as to the
athlete in particular. There are sports like figure skating or rhythmic gymnastics where the athlete gives
grandeur to the athletic performance through the expressivity of the movements executed to the rhythm of
the music, through the expression of inner feelings by putting them into motion. In general, affectivity is
present in any sport through the vigour of the emotions experienced by the athlete.
The sports psychologist and the coach are responsible for explaining to the athletes that moral values are
learned through, and that progress and performance are unthinkable without, affective solidarity, friendship
and love for sport.
In theatre, beyond the need to master his or her emotions on stage, the actors performance adopts the
affective experience, imaginary in origin. He or she acts as if, through partial emotional identification
with the task, by invention.
This paper aims at highlighting similarities in the actors education and the athletes training for
professional performance, focusing on the mental component of affectivity. To this end, a parallel is made
between the fundamental elements of psychological training as described by several famous authors from
the fields of Physical Education and Sport, and, respectively, Theatre. Although closely related to other
psychological phenomena, affective processes are more pronounced in the athlete and the actor than in
individuals in other professions. The analysis of this psychological component in the two areas addressed by
this paper focuses on the mind-emotion relationship. This relationship may take a positive or a negative
turn, also depending on the preparation of the previous processes: self-confidence and thought (inner
speech).
According to research conducted by K.S. Stanislavski [1,10], the artist could reach an intense inner
experience using the emotional memory and the memory of the five senses. Emotional memory stores all
the feelings the individual experienced at some point in life and which he or she can relive, once
remembered. Remembering also has external effects. A shameful memory can make the actor blush, and a
happy memory can make the actor smile.
The actor allows himself or herself to be absorbed into the subjective world by living, channelling his or her
energy on controlling feelings in imagination. This emotional engagement can affect, in one way or another,
the success of the show.
The affective experience of the actor on stage, by the force of things, is stronger than that of the common
individual, so that actors can convey the true feeling to the public, using all the elements of their body,
especially mimicry, gestures and eyes. The actor must learn not to pay attention to the public during the
play, because it makes it harder to focus on the role [9].

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In Mihai Epurans view [3,4], the emotional training of the athlete has two parts of the highest
importance: 1) acquiring the ability to prevent and cope with the influence of negative emotions and 2)
acquiring moral standards. The involvement of emotions (as part of affectivity) in the mental training of the
actor and the athlete will be described briefly in what follows.
Michael Chekhov [2], for instance, states that emotions can block a public appearance. This finding
comes from an experience from the first year of high school, when he had to give a speech in an oratory
contest organized by the school. On that occasion Chekhov experienced the situation when the mind and the
body did not obey his commands. During the speech, which was barely whispered, his body gradually froze,
and finally Chekhov was unable to move and speak. Then, should emotions remain the basis for the training
technique proposed by Michael Chekhov? It is possible that these emotions might constitute a good
motivation, but according to data of modern psychology, the psychological training of an individual is not
based only on the development of mental qualities. As mentioned above, practicing a psychic quality also
involves other qualities in the performance of mental or physical actions, since emotions represent only a
part, an aspect of the affective life of the athlete or the actor. There is an entire range of emotional states,
gradual in content and intensity, which form the content of affectivity. These states influence each other,
and, together with intellectual and volitional processes, they constitute ones spiritual world, ones
conscience. Therefore, it is necessary at this point to present a summary of the content of the actors and,
respectively, the athletes emotional life, drawn from the research of several psychology experts, including
Mihai Epuran.
Affectivity plays an important role in these two professions, influencing those who practice them in
two ways: when positive, affectivity stimulates actions and provides energy for their performance; when
negative, it hinders the work, causing reactions of withdrawal and decline. Since emotional experiences
depend, at the same time, on reality conditions and individual characteristics, they are complex, dynamic
and contradictory. Thus, in actors and athletes, the emotion caused by fear can be negative (the body refuses
to execute commands) or positive, for those people who desire to take risks and experience the satisfaction
of a difficult action.
The wealth of affectivity for professionals in theatre and high performance sports also explains its
beauty, the varied nature of the activity causing the most diverse experiences. Theatre and sports activities
are also characterized by the fact that they cause varied and powerful feelings, being one of the factors
shaping the moral sphere.
The affective attitude, in the case of the actor and the athlete, both of whom perform physical
activities, depends on the conditions and characteristics of that activity [8]. Mihai Epuran exemplifies
several kinds of expressions of affection in those who practice physical activities [6,7]:
affective states caused by increased muscle activity (liveliness, joy, satisfaction, following certain
medium intensity exercises);
affective states caused by the perception of external characteristics of the movements and actions
(aesthetic emotions and feelings caused by beauty, rhythm and other characteristics of movements);
affective states related to the execution of difficult, complicated or dangerous exercises
(satisfaction, self-confidence, pleasant fear);
affective states caused by experiencing the environment, the atmosphere in trainings and
competitions (or shows).
The exercises devised according to Michael Chekhovs technique [2] are meant to develop fully the
actors psyche, including: self-control, will, creative imagination, thought, feelings etc. In exercise VII from
Course on the Art of Acting, the author expresses the view that, in any true work of art, there are four
qualities that the artist put into his or her work: skill, form, beauty, unity, representing incentives of
emotion: The actor must develop these four qualities, Michael Chekhov argues further, because through
them, one can master the body and the voice, the only tools available to the actor on the stage. Skill is
necessary for slow movements and an inflexible voice; to create with clearly outlined forms is a mastery
that artists from all fields can and must develop to the highest degree; the sense of beauty must be acquired
by the actor for his or her art, and the sense of unity will emphasize the essence of a character, of a role due
to the harmony, balance and cooperation of all performing organs.
Exercise II from the same Course presents the emphasis on actions to stimulate imagination, to send
impulses to the performing organs, to increase concentration, resulting in a strong capacity to execute
movements ordered by the central nervous system (CNS). Practicing this exercise leads to the development
of a very important feeling in the profession of acting, called by Chekhov stage presence: While you are in

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front of the audience, dont let yourself be controlled by self-awareness, you will not ever have stage fright
or lack confidence as an artist [2], Michael Chekhov states firmly. Talking about Atmosphere and Individual
Feelings (in Chapter IV of Course on the Art of Acting), Michael Chekhov identifies the affective states
influenced by negative emotions and the positive ones: There are two conceptions of the scene:
Empty space which, from time to time, is filled with actors, sets and service personnel. What
appears on the scene is the visible and the audible element,
The world is permeated by a certain powerful, magnetic atmosphere. This atmosphere provides the
actors with inspiration and strength for future creations, and it is difficult to separate them from it. Any
phenomenon or event has its own specific atmosphere. The atmosphere creates a connection between actors
and spectators, deepens the perception of the show, requires and awakens feelings through which
understanding will be enhanced [...] The atmosphere asks you to play according to it. The impulse comes
from the will, the dynamic or driving force living in that atmosphere. [2]
Michael Chekhov highlights the importance of atmosphere in stimulating affectivity and gives some
recommendations. It should be noted that the term atmosphere is used in more than its usual meaning.
Thus:
1) Atmosphere inspires the actor;
2) It connects the audience to the actor, and the actors together;
3) It deepens the perception of the actor;
4) Two contrasting atmospheres can not exist simultaneously, but the individual feelings of the
characters, even if they contrast with the atmosphere, can exist simultaneously;
5) The atmosphere is the soul of the show;
6) Imagine the same scene in different atmospheres;
7) Create atmosphere around you without given circumstances;
8) Move and speak in harmony with the atmosphere you created;
9) Imagine circumstances similar to the atmosphere you created;
10) Set and hold an account of atmospheres that you created;
11) Perform movements (actions) with qualities-sensations -feelings. [2]
In a different context, the author Mihai Epuran also shows an interest in the atmosphere, which can
positively influence the participation of the athlete in a competition: the aesthetic character of the field, the
opening festivity, producing joy, emotional enthusiasm, willingness to give everything, large number and
enthusiastic spectators, the spectators support etc. [6]
According to Mihai Epuran, strong emotion, which overtakes the athlete, influences the course of
intellectual processes and the proper performance of actions. However, the athlete could make a mistake in
assessing situations and in the execution of movements, thus influencing the success of a performance. The
negative effects of these emotions cannot always be prevented; emotions can occur spontaneously and if the
intellectual, moral and volitional qualities of the athlete are not sufficiently developed, emotions can directly
influence the failure in a contest. There are also emotions with positive effects, which stimulate and help
performance, mobilizing the athletes energies. Such an emotion can be found in the athlete, but also in an
actor, who is well prepared physically, technically, and has a motivated desire to succeed.
To remove the negative effects of some emotions, Mihai Epuran recommends to athletes to mask
(theatrically) their authentic feelings as follows:
To form a habit of withholding from expressing emotion because, by removing external
manifestations, the emotion loses intensity;
To execute typical actions to calm down and concentrate (e.g., arranging equipment);
To perform breathing exercises that also produce significant changes on the external expression of
emotion;
To use some forms of soothing massage;
To use warm up exercises;
To educate the habit of controlling emotional manifestations and channelling thoughts and attention
to the main task;

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To fully develop physical, technical, etc. qualities to build confidence in ones own possibilities
[...].
The exercises proposed by Mihai Epuran do not end here; the listing above only includes those
exercises that may also be of interest for the emotional training of the actor.
Conclusions
This papers discussion on affectivity identifies the idea that emotions, positive or negative, affect
the entire mental activity in the two areas of sports and theatre performance. At the same time, it is
suggested that the subjects thought and will influence emotions and their effects, resulting in the possibility
to consciously control behaviour. This explains the interrelationship between mental qualities, as well as
their relationship with physical actions.

Psychological training must be taken seriously and performed consciously, to conduct to

high indices in the development of intellectual, emotional, volitional and personality qualities.
Thus, the mental training, based on exercising and stimulating emotionality has been shown
to be significant in performance both in sports and drama.
- Data collected from sports and theatre studies about the quality of the external manifestations of the
body obtained by proper mental development provide arguments supporting the affinity on the psychophysical training in both the athlete and the actor.
References
[1]. Abalkin. N. Sistemul lui Stanislavski i teatrul sovietic. Bucureti: Editura Cartea rus. 1955.
Romanian
[2]. Cehov M. Curs de arta actorului. http://www.scribd.com/doc/11597051/Mihail-Cehov-Curs-de-ArtaActorului. Romanian
[3]. Epuran M. Pregtirea psihologic a sportivului. Bucureti: Editura Uniunii de cultur fizic i sport.
1964. Romanian
[4]. Epuran M. Psihologia sportului. Bucureti: Editura Consiliului Naional pentru educaie fizic i sport.
1968. Romanian
[5]. Epuran M. Activitile corporale n lumina tiinei educaiei fizice i sportului. Educaie fizic i sport.
1969.(10). Romanian
[6]. Epuran M. Psihologia i sportul contemporan (Antologie). Bucureti: Editura Stadion. 1974. Romanian
[7]. Epuran M. Holdevici I. Tonia F. Psihologia sportului de performan. Teorie i practic. ed. a 2-a, rev.
Bucureti: Editura FEST. 2008. Romanian
[8]. Lee AC. Actorul i sportivul pe ci comune. Iai: Editura ARTES. 2011. Romanian
[9]. Mihail A. Antrenamentul expresiei corporale. Curs. Craiova: Editura Universitaria. 2005. Romanian
[10]. Stanislavski KS. Munca actorului cu sine nsui, nsemnrile zilnice ale unui elev. n romnete de
Lucia Demetrius i Sonia Filip. Bucureti: Editura de Stat pentru Literatur i Art. 1951. Romanian

AFECTIVITATEA N PERFORMANA SPORTIVULUI I A ACTORULUI

Lee A.C. (Ana-Cristina Lee)1
1
Univeristatea de arte G. Enescu, Iai
E-mail: analese2000@yahoo.com
Rezumat
Lucrarea de fa caut s evidenieze similitudinile existente n pregtirea sportivului i pregtirea actorului
pentru performan profesional, axndu-se pe componenta psihic afectivitatea. n acest sens, am recurs la o paralel
ntre elemente fundamentale din pregtirea psihologic, ale unor renumii autori din domeniile Educaie fizic i sport,
respectiv, Teatru. Dei strns legate de celelalte fenomene psihice, procesele afective au un specific mai pronunat la
sportiv i la actor dect la indivizi din alte profesii. Analiza acestei componente psihice, n domeniile abordate de noi,

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este plasat n jurul relaiei raiune-emoie. Aceast relaie poate lua o direcie negativ sau una pozitiv, n funcie i
de pregtirea proceselor anterioare: ncrederea n sine i gndirea (vorbirea interioar). Datele culese din literatura de
specialitate sportiv i teatral, cu privire la calitatea manifestrilor exterioare ale corpului obinute printr-o bun
dezvoltare psihic, aduc argumente n susinerea afinitilor privind pregtirea psiho-fizic ntre sportiv i actor.
Cuvinte cheie: pregtire psihologic, arta dramatic, sport, antrenament mental.

Importana afectivitii n performan sportiv i teatral

Afectivitatea este procesul psihic care d sensibilitate i frumusee sportului, dar i sportivului. Sunt
sporturi precum patinajul artistic, gimnastica ritmic, n care sportivul d strlucire spectacolului sportiv
prin expresivitatea micrilor executate n ritmul muzicii, prin tririle interioare i transpunerea lor n
micare. Dar, n general, afectivitatea este prezent n orice sport prin vigoarea emoiilor pe care le ncearc
sportivul.
Psihologul sportiv i antrenorul au sarcina de a le explica sportivilor faptul c valorile morale se
nva i c lumea progresului i a performanei devine de neconceput n afara unei solidariti afective, a
prieteniei i dragostei pentru sport.
n arta dramatic, dincolo de nevoia de a-i stpni emoiile pe scen, actorul adopt trirea afectiv
de sorginte imaginar. El procedeaz ca i cum, printr-o identificare emoional parial cu sarcina sa, n
condiiile inveniei.
Scopul lucrrii de fa este de a evidenia similitudinile existente n pregtirea sportivului i pregtirea
actorului pentru performan profesional, axndu-se pe componenta psihic afectivitatea. n acest sens, am
recurs la o paralel ntre elemente fundamentale din pregtirea psihologic, ale unor renumii autori din
domeniile Educaie fizic i sport, respectiv, Teatru. Dei strns legate de celelalte fenomene psihice,
procesele afective au un specific mai pronunat la sportiv i la actor dect la indivizi din alte profesii.
Analiza acestei componente psihice, n domeniile abordate de noi, este plasat n jurul relaiei raiuneemoie. Aceast relaie poate lua o direcie negativ sau una pozitiv, n funcie i de pregtirea proceselor
anterioare: ncrederea n sine i gndirea (vorbirea interioar).
Conform cercetrilor lui K. S. Stanislavski [1,10], artistul poate ajunge la o trire intens interioar cu
ajutorul memoriei emoionale i a memoriei celor cinci simuri. n memoria emoional sunt stocate toate
sentimentele pe care individul le-a trit la un moment dat n via i pe care le poate retri, odat ce i aduce
aminte de ele. Aducerea aminte are efecte i la nivel exterior. O amintire ruinoas l poate face pe actor s
roeasc, iar o amintire fericit - s zmbeasc.
Actorul se las atras n lumea subiectiv prin trire, direcionndu-i energia asupra controlului
sentimentelor n planul imaginaiei. Aceast angajare emoional poate marca ntr-un fel sau altul succesul
spectacolului.
Trirea afectiv a actorului pe scen, prin fora lucrurilor, este mai puternic dect a omului de rnd,
pentru ca el, actorul, s poat transmite sentimentul adevrat ctre public, cu ajutorul tuturor elementelor
corpului su, dar mai ales cu ajutorul mimicii, al gesturilor i al privirii. Actorul trebuie s fie deprins s nu
dea atenie publicului n timpul jocului, deoarece i va fi mai greu s se concentreze pe rol [9].
n viziunea lui Mihai Epuran [3,4], pregtirea afectiv a sportivului cuprinde dou aspecte de cea mai
mare importan: 1. educarea capacitii de a prentmpina i a face fa influenei emoiilor negative i 2.
educarea calitilor morale. n cele ce urmeaz, vom descrie pe scurt implicarea emoiilor (ca parte a
afectivitii) n pregtirea psihic a actorului i a sportivului.
Ct despre Michael Cehov [2], acesta afirm c emoiile pot bloca o apariie n public. Aceast
constatare vine n urma unei experiene, petrecute n primul an de liceu, cnd avea de inut un discurs, n
cadrul unui concurs de oratorie, organizat de liceu. Atunci M. Cehov a trecut prin situaia, cnd mintea i
corpul nu ascultau comenzile date. Pe parcursul discursului, care era abia optit, corpul nghea treptat, n
final, autorul ajungnd n incapacitatea de a se mica i de a vorbi. S rmn atunci emoiile la baza
tehnicii de pregtire, propuse de Michael Cehov? Este posibil ca aceste emoii s constituie o bun
motivaie, ns, conform datelor psihologiei moderne, pregtirea psihologic a unui individ nu se sprijin
doar pe dezvoltarea unei caliti psihice. Aa cum am mai amintit, exersarea unei caliti psihice implic i
alte caliti n svrirea aciunilor fizice sau psihice, emoiile reprezentnd numai o parte, un aspect al vieii
afective a sportivului sau a actorului. Exist o ntreag gam de stri afective, gradate n coninut i

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intensitate, care constituie coninutul afectivitii. Aceste stri se influeneaz reciproc, i, alturi de
procesele intelectuale i volitive, constituie lumea spiritual a omului, contiina lui. De aceea, considerm
c este necesar o prezentare pe scurt a coninutului vieii afective a actorului i respectiv, a sportivului,
dedus din cercetarea unor experi n psihologie, printre care i Mihai Epuran.
Afectivitatea are un rol important n cele dou profesii, influennd pe cei care le practic n dou
moduri: cnd este pozitiv, afectivitatea stimuleaz aciunile i d energia necesar desfurrii lor; cnd
este negativ, ea frneaz activitatea, provoac reacii de retragere, de micorare. ntruct tririle
afective depind, n acelai timp, de condiiile realitii i de particularitile individuale, ele sunt complexe,
dinamice i contradictorii. Astfel, la actori i la sportivi, emoia provocat de fric poate fi negativ
(organismul refuz s execute comenzile date) sau pozitiv, n cazul acelor persoane care au dorina de a
risca i de a tri satisfacia aciunii dificile.
Bogia afectivitii n cazul profesionitilor din teatru i din sportul de performan explic i
frumuseea ei, caracterul variat al activitii producnd cele mai diverse triri. Activitatea teatral i cea
sportiv se caracterizeaz i prin aceea c produc triri afective variate i puternice, constituind unul dintre
factorii de modelare a sferei morale.
Atitudinea afectiv, n cazul actorului i al sportivului, care practic exerciii fizice se afl n
dependen de condiiile i caracteristicile activitii respective [8]. Mihai Epuran exemplific cteva tipuri
de manifestare a afectivitii la persoanele care practic exerciii fizice [6,7]:
- stri afective produse de activitatea muscular sporit (vioiciune, bucurie, satisfacie, n urma
efecturii unor exerciii de intensitate mijlocie);
- stri afective produse de perceperea caracteristicilor exterioare ale micrilor i aciunilor (emoii i
sentimente estetice, provocate de frumuseea, de ritmul i alte caracteristici ale micrilor);
- stri afective legate de execuia unor exerciii dificile, complicate sau periculoase (satisfacie,
ncredere n forele proprii, frica plcut);
- stri afective provocate de trirea ambianei, a atmosferei din antrenamente i din concursuri (sau
reprezentaii).
Exerciiile compuse dup tehnica lui Michael Cehov [2] sunt destinate dezvoltrii n totalitate a
psihicului actorului, cuprinznd: stpnirea de sine, voina, imaginaia creatoare, gndirea, sentimentele
etc. n exerciiul VII din Cursul de arta actorului, autorul i exprim prerea c, n orice oper de art
adevrat, se gsesc patru caliti pe care artistul le-a pus n creaia sa: ndemnarea, forma, frumosul,
unitatea, reprezentnd stimulente ale afectivitii: Aceste patru caliti trebuie s i le dezvolte actorul,
spune n continuare Michael Cehov, deoarece, prin acestea, se pot stpni corpul i vocea, singurele
instrumente la dispoziia actorului pe scen. ndemnarea este necesar n cazul unor micri greoaie i al
unei voci inflexibile; a crea cu ajutorul unor forme clar conturate este o miestrie pe care artitii din toate
ramurile pot i trebuie s i-o dezvolte n cel mai nalt grad; simul frumosului trebuie dobndit de ctre
actor pentru arta sa, iar simul unitii va accentua esenialul dintr-un personaj, dintr-un rol, datorit
armoniei, echilibrului i conlucrrii tuturor organelor executorii.
Exerciiul II din acelai Curs prezint accentuarea unor aciuni de stimulare a imaginaiei, de
trimitere a impulsurilor la organele executorii, de concentrare, rezultnd din acestea fora de a executa
micri comandate de sistemul nervos central (SNV). Exersarea acestui exerciiu duce la dezvoltarea unui
sentiment foarte important n profesia actorului, numit de autor prezena scenic: n timp ce v vei afla n
faa publicului, nu vei fi niciodat stpnii de contiina de sine, nu vei suferi niciodat de trac sau de lips
de ncredere ca artist [2], afirm cu convingere Michael Cehov. Discutnd despre Atmosfera i
sentimentele individuale (n capitolul IV al Cursului de arta actorului), Michael Cehov detaeaz strile
afective, influenate de emoii negative i de cele pozitive: Exist dou concepii despre scen:
- spaiul gol care, din cnd n cnd, se umple cu actori, decoruri i personalul de serviciu. Ceea ce
apare pe scen este elementul vizibil i auzibil,
lumea ptruns de o anume atmosfer puternic, magnetic. Aceast atmosfer le asigur actorilor
inspiraia i fora pentru creaiile viitoare, i cu greu se despart acetia de ea. Orice fenomen i eveniment i
are propria atmosfer specific. Atmosfera creeaz o legtur ntre actori i spectatori, adncete percepia
spectacolului, solicit i trezete sentimentele prin care nelegerea va fi amplificat[...] Atmosfera te
ndeamn s joci n concordan cu ea. ndemnul vine din voin, din fora dinamic sau motrice ce triete
n atmosfera respectiv. [2]
Michael Cehov puncteaz importana atmosferei n stimularea afectivitii i d unele recomandri.
Remarcm c autorul nelege prin atmosfer mai mult dect se nelege de obicei. Astfel:

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1) Atmosfera l inspir pe actor;
2) Ea leag publicul de actor, precum i pe actori ntre ei;
3) Ea adncete percepia actorului;
4) Dou atmosfere contrastante nu pot exista concomitent, dar sentimentele individuale ale
personajelor, chiar dac contrasteaz cu atmosfera, pot exista simultan;
5) Atmosfera este sufletul spectacolului;
6) Imaginai-v aceeai scen n diferite atmosfere;
7) Creai atmosfer n jurul vostru fr mprejurri date;
8) Micai-v i vorbii n armonie cu atmosfera pe care ai creat-o;
9) Imaginai-v mprejurri asemntoare cu atmosfera pe care ai creat-o;
10) Stabilii i inei un cont al atmosferelor pe care le-ai creat;
11) Executai micri (aciuni) cu caliti-senzaii-sentimente. [2]
n alt context, autorul Mihai Epuran se arat i el preocupat de atmosfer, care poate influena pozitiv
participarea sportivului la un concurs: caracterul estetic al terenului, festivitatea de ncepere, care produc
bucurie, elan emotiv, dorina de a da totul, spectatorii n numr mare i entuziasmai, susinerea de ctre
spectatori etc [6].
n opinia lui Mihai Epuran, emoia puternic, de care este cuprins sportivul, influeneaz mersul
proceselor intelectuale i conducerea corect a aciunilor. Se ntmpl ns ca sportivul s greeasc n
aprecierea situaiilor i n executarea micrilor, influennd astfel reuita unei performane. Efectele
negative ale acestor emoii nu pot fi prentmpinate ntotdeauna, emoiile putnd apare spontan, iar n cazul
cnd nu sunt suficient de dezvoltate calitile intelectuale, morale i volitive ale sportivului, emoiile pot
influena direct nereuita unei ntreceri. Sunt ns i emoii cu efecte pozive, stimulatoare, care ajut
performana, mobiliznd energiile sportivului. O asemenea emoie se ntlnete la sportivul, dar i la actorul,
bine pregtii fizic, tehnic, i cu o voin motivat de a reui.
Pentru nlturarea efectelor negative ale unor emoii, Mihai Epuran recomand sportivilor de a-i
masca (teatral) tririle autentice:
- formarea deprinderii de a-i reine expresia emoiei, cci, prin nlturarea manifestrilor exterioare,
emoia pierde din intensitate;
- executarea unor aciuni tipice n scopul calmrii i concentrrii (de exemplu, aranjarea
echipamentului);
- efectuarea unor exerciii de respiraie, care produc modificri nsemnate i asupra expresiei
exterioare a emoiilor;
- folosirea unor forme de masaj linititor;
- folosirea exerciiilor de nclzire;
- educarea deprinderii de stpnire a manifestrilor emotive i de dirijare a gndurilor i a ateniei
ctre sarcina principal;
- dezvoltarea la maximum a calitilor fizice, tehnice etc, pentru ntrirea ncrederii n propriile
posibiliti[...].
Exerciiile propuse de Mihai Epuran nu se ncheie aici, ns am intenionat s reproducem doar acele
exerciii, care pot interesa i pregtirea afectiv a actorului.
Concluzii
Ca urmare a abordrii de fa privind afectivitatea actorului i a sportivului, desprindem ideea c
emoiile, pozitive sau negative, influeneaz ntreaga activitate psihic n cele dou cazuri. n acelai timp,
deducem faptul c gndirea i voina subiecilor influeneaz emoiile i efectele lor, rezultnd posibilitatea
dirijrii contiente a comportrii. Astfel se explic interrelaia dintre calitile psihice, dar i relaia lor cu
aciunile fizice.

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_____ Sp Soc Int J Ph Ed Sp 2012 - Volume 13 - Issue 1______

Antrenamentul psihologic trebuie abordat cu seriozitate i, mai ales, cu voin, pentru a se obine
indici ridicai n dezvoltarea calitilor intelectuale, afective, volitive i de personalitate.
De asemenea, antrenamentul mental, bazat pe exersarea i stimularea afectivitii, are un rol
determinant asupra jocului scenic i n sport.
Datele culese din literatura de specialitate sportiv i teatral, cu privire la calitatea manifestrilor
exterioare ale corpului obinute printr-o bun dezvoltare psihic, aduc argumente n susinerea afinitilor
privind pregtirea psiho-fizic ntre sportiv i actor.

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[3]. Epuran M. Pregtirea psihologic a sportivului. Bucureti: Editura Uniunii de cultur fizic i sport.
1964. Romanian
[4]. Epuran M. Psihologia sportului. Bucureti: Editura Consiliului Naional pentru educaie fizic i sport.
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1969.(10). Romanian
[6]. Epuran M. Psihologia i sportul contemporan (Antologie). Bucureti: Editura Stadion. 1974. Romanian
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