RUNNING HEAD: EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE

ARTISTS 1

Effect, Feedback and Affect among the Theatre Artists.

A Research Proposal Submitted in Partial Fulfilment of the Requirements for the Award of
the Degree of

Masters
In
Science

By
Name: P Anup Raja
(1737504)

Under the Guidance of

Name of the Professor: Dr. Santhosh K R
Assistant/Associate Professor

Department of Psychology
CHRIST (Deemed to be) UNIVERSITY,
BENGALURU, INDIA
February 2018
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 2

The effort, Feedback, and Affect among the theatre artists

The theatre is a medium of communication to share experiences all over the world.

The theatre is humanity’s natural instinct (Karmakar, 2013). Theatre happens when actor and

The only time, where live actors perform in front of a live audience. The audience plays a

huge role here; their feedback can strongly influence the performers (Molleman, 2017). There

are various emotions involved in theatre performance and performers seeks some form of

appreciation that can satisfy him or her (Boerner & Jobst, 2013). These feedbacks or

comments can make a large impact on how they perform and perceive; it can either make or

break them. It also builds a sense of self-esteem among them when they receive positive

feedback as compared to negative (Ilies, De Pater, & Judge, 2007).

It is important also to address the amount of risk that is undertaken by the performers.

They put their heart and soul to present it in front of an audience or group of people so that

they can be appreciated for their hard work and talent. At times risk is proportionally related

to monetary benefits (Vermeer & Sanfey, 2015). If a person is likely to receive a monetary

benefit for a performance, then he will play it safe in further performances. Whereas a person

who incurred a loss will likely take a slightly bigger risk to survive in the game (Vermeer &

Sanfey, 2015). It is not just the money factor that decides whether or not that the person is

likely to take the risk. For a performer, negative feedback could make him work harder and

improve his skills. Performance-oriented is a factor that shows performers usually take up

more risk after a successful show than when they are unsuccessful or criticised. Feedback

also helps in building self-esteem (Ilies, De Pater, & Judge, 2007).

The reaction that people tend to show on feedback differ from person to person on

how they perceive it, and who is giving that feedback, what importance that holds in the
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 3

person’s life (Hattie & Timperley, 2007). Studies say that the impact of negative feedback is

likely to affect more than positive feedbacks (Hattie & Timperley, 2007). The negative

feedbacks have a negative impact, and the positive feedbacks have a positive influence (Ilies,

De Pater, & Judge, 2007). These affects are unbiased towards the sex of the person; research

says that the person is likely to be intrinsically motivated by the feedback be it positive or

negative (Shanab, Peterson, Dargahi, & Deroian, 2010). It all boils down to the point that

theatre is a platform where the audience who are watching a performance, play a major role

in what happens after the performance (Boerner & Jobst, 2013). Positive feedbacks are

something that every performer cherishes but the same time negative feedbacks are

something that can have a stronger influence and have much more impact on the individuals

(Hattie & Timperley, 2007).

Research Design

The study follows the descriptive design and is quantitative. Variables will be

measured and analysed by statistical methods.

Aim

To find out if effort and feedback associated with performance have an effect on the

affect of the performer.

Objectives

1. To find out if there is a correlation between effort, feedback and affect (momentary

experience of happiness, the perceived intensity of the happiness, and positive and negative

affect).

2. To find out whether the amount of happiness, positive affect, and self-rating of the

performance can predict the affective reactions.

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 4

Method

Sample

A sample of 100 amateur actors will be chosen as the participants for the study. As

they are amateurs, feedback plays a crucial role in their pathway to success.

Procedure

After a real theatre performance, subsequent to their exposure to the feedback from

the audience, we will approach the performers, and interact to build a rapport. Consequently,

we will explain about the present study, obtain the informed consent, and proceed to data

collection. While giving the questionnaire, a brief orientation will be given as follows:

“It would be helpful for our study if you share some of your momentary experiences

in the provided space of the questionnaire. You need only respond by encircling your most

appropriate momentary feeling. It will not take more than 5 minutes.”

Measures

Affect. Positive Affect and Negative Affect Schedule (PANAS) will be used to measure the

affective experiences of the participants; This scale consists of two 10-item mood scales

developed to provide brief measures of Positive affect and Negative affect. Participants are

asked to rate the extent to which they have experienced that particular emotion within a

specified period. The participants are supposed to rate on the scale of 1-5, where, one being

‘very slightly or not at all’ and five being ‘very much’ (Crawford & Henry, 2003).

Happiness. To measure happiness, Fordyce Emotions Questionnaire will be used. It is a

scale where the participant is required to choose his current state of happiness on a scale of 1-

10. Also, provide his general percentage of happiness. This scale lets to compare the current

and a general state of happiness.

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 5

Effort and feedback. The following scaling questions will be used to find out the effort

given by the performer to the performance and the experience of feedback The participants

have to choose their position on a scale of 0 to 10.

Using a scale from 0 to 10, how do you rate your performance?

Poor Excellent

0 1 2 3 4 5 6 7 8 9 10

Using a scale from 0 to 10, how do you rate the feedback you received?

Demotivating Extremely motivating

0 1 2 3 4 5 6 7 8 9 10

Statistical analysis

To find out if there is a correlation between the amount of effort put in, positive and

negative feedback, self-rating of the performance, and affective reactions (momentary

experience of happiness, the perceived intensity of the happiness, and positive and negative

affect). To find the regression analysis of the amount of effort put in, feedback, and self-

rating of the performance can predict the affective reactions. To Check the effect size of the

regression of predictors on the affective reactions.

Ethical concerns

To research to assess if the amount of effort put in versus positive and negative

feedback influence the affective reactions among theatre artists the ethical concerns will be

maintained. Data will be collected only after receiving informed consent from each

participant. The privacy of the participant will be taken into consideration, and it will be the

participant’s choice to fill their name in the questionnaire. The confidentiality of the data will

be maintained, i.e. no information of the participant will be shared with any individual other

than the researcher and the questionnaires filled by the participants will be accessed only by
 EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 6

the researcher. Since the questionnaires will be given after the feedback is provided, the

researcher will ensure the emotional state of the actor before giving it to the actors.

Results and Analysis

Table No. 1

Following table is the correlation of variables of the study.

effort self rating of feedback affective H UH NL PA NA

put in the received experience

performance

effort put in 1 .372** .294** 0.196 .269** -.235* -0.164 .358** -

0.142

self rating of the .372** 1 .534** .354** .438** -.399** -.227* .347** -

performance 0.139

feedback .294** .534** 1 .585** .547** -.526** -.351** .436** -

received 0.146

affective 0.196 .354** .585** 1 .660** -.631** -.427** .492** -

experience 0.141

H .269** .438** .547** .660** 1 -.741** -.700** .460** -

.208*

UH -.235* -.399** -.526** -.631** -.741** 1 .272** -.400** .228*

NL -0.164 -.227* -.351** -.427** -.700** .272** 1 -.265** 0.015

PA .358** .347** .436** .492** .460** -.400** -.265** 1 -

.207*

NA -0.142 -0.139 -0.146 -0.141 -.208* .228* 0.015 -.207* 1

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 7

The following table shows the results of correlation between The effort put in, affective

experience and feedback received among theatre artists. Here there are three dependent

values namely, affective experience, happiness and positive affect. From the above table we

can see that there is a moderate positive correlation between Affective Experience(D) and

Self rating of the performance, Feedback Received, Happiness, Positive Affect () and a

negative moderate correlation between Unhappiness, Neutral and Negative Affect.

There is also a significant correlation between Happiness(D) and Effort put in, Self-rating of

the performance, Feedback received, and Positive Affect (), whereas Happiness is negatively

correlated with Unhappiness, Neutral and Negative Affect.

There is also moderate correlation between Positive affect(D) and Effort put in, Self-rating of

the performance, Feedback received, and Positive Affect (), whereas Positive affect is

negatively correlated with Unhappiness, Neutral and Negative Affect.

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 8

Diagram 1
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 9

Table No. 2

Path analysis which shows the mediation of happiness/unhappiness/neutral in the relationship

of affective experiences with feedback received and self-rating.

Endogenous variables Exogenous variables β

Happiness <--- feedback received 0.31**

Happiness <--- self-rating 0.27**

Unhappiness <--- Happiness -0.70**

Neutral <--- Happiness -0.74**

Positive Affect (PA) <--- Effort put in 0.31**

Positive Affect (PA) <--- feedback received 0.33**

affective experience <--- feedback received 0.16*

affective experience <--- Neutral -0.19*

affective experience <--- Unhappiness -0.54**

*p < .05, **p < .01

Table No. 3

Correlation between the exogenous variables

Covariant Covariant r

Effort put in <--> feedback received 0.27*

feedback received <--> self-rating 0.47**

Effort put in <--> self-rating 0.42**

*p < .05, **p < .01

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 10

The following tables and diagram show the results for second hypotheses to find out whether

the amount of happiness, positive affect, and self-rating of the performance can predict the

affective reactions. We can see from table 1 that Happiness showed a predictable

relationship (β = 0.31, p < .01) with Feedback received, Positive affect showed a predictable

relationship (β=0.31, p<.01), with effort put in and also Feedback received (β=0.31, p<.01). It

can also be seen that Self-Rating showed a predictable relationship (β=0.27, p<.01) with

Happiness.

Discussion

After analysing from the above tables and diagram we will now further discuss in details

about the results as to what do they mean. Based on our first hypothesis which is to check if

there is a correlation between effort put in, feedback received and the affective experience,

we did a correlation and found out that this hypothesis will be accepted. Hence this shows

that there is a significant relationship between effort put in, feedback received and the

affective experience among theatre artists. This shows that when the amount of effort put in

by actors are more the affective experience is more. Similarly, the feedback received from

their peers and directors of the same team is positive their affective experience is heightened.

We can say that affective experience is strongly related to effort put in and happiness.

From diagram 1, we Accept our second hypothesis of this study which is to find out

whether the amount of happiness, positive affect, and self-rating of the performance can

predict the affective reactions. Table 2 shows that happiness, positive affect, effort put in and

self-rating are all strong predictors of affective experience. We can understand if the

independent variables: Happiness, effort put in, self-rating etc., can predict the affective

experience of a theatre artist. From the diagram we can say that only feedback received is a
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 11

direct predictor of affective experience, that is if the feedback is positive or negative it can

influence it accordingly. But whereas other factors are not directly influenced but play a

major role in understanding their impact on affective experience. So to get a better

understanding of their affective experience it is important to understand their happiness

which is influenced by self-rating and feedback received, and positive affect which is

influenced by effort put in and feedback received.

According to the study conducted by Remus & Judge, 2007 (Ilies, De Pater, & Judge, 2007)

it says that positive feedbacks have positive influences, which matches with this study as seen

in the discussion that there is a moderate correlation between feedback received and affective

experience, which means positive feedback received there is a positive affective experience.

Another study conducted by Boerner and Jobst in 2013 (Boerner & Jobst, 2013) say that the

audience play an important role, as their feedbacks have an impact on the actors after their

performance, this is also true in this case as we can see form the diagram 1 that feedback

received is strong predictor of affective experience, so audience are a very essential part of

the performance. We can understand from different studies that feedback received, effort put

in, happiness all play a major role in the affective experience of a theatre artist. Though some

variables don’t have a direct impact on their affective experience but influence them greatly.

Implications

 The study has an impact on both the fields of Psychology and Theatre.

 This study shows the importance of feedback in an individuals’ life and can be

worked accordingly.

 Keeping in mind a corporate setting, it gives an understanding as to how to provide

feedbacks to their employees as it impacts their affective experience.

EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 12

 Theatre can also be benefitted from this study as it shows how can on experience

theatre affectively by receiving a positive feedback.

Limitations of the Study.

 The sample was collected in Bangalore only.

 The sample being honest to the questionnaire can be questioned.

 The feedback time considered is less.

 The feedback can be considered to keep the sample happy and hence that feedback

might be reflected.
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 13

References

Annabel B. Loosecaat Vermer, A. G. (2015, September ). The Effect of Positive and

Negative Feedback on Risk-Taking across Different Contexts. PLoS ONE.

Bharath Ananthasubramaniam, H. H. (2014, August ). Positive Feedback Promotes

Oscillations in Negative Feedback Loops. PLoS ONE.

Boerner, S., & Jobst, J. (2013). Enjoying Theatre: The role of visitors’ response to the

performance. Konstanzer online-publikations-system, 4, 391-408.

Crawford, J. R., & Henry, J. D. (2003, September ). The positive and negative affect schedule

(PANAS): Construct validity, measurement properties and normative data in a large

non-clinical sample. British Journal of Clinical Psychology, 43(3), 245-265.

Hattie, J., & Timperley, H. (2007, March). The power of feedback. Review of Educational

Research, 77, 81-112.

Ilies, R., De Pater, I. E., & Judge, T. (2007). Differential affective reactions to negative and

positive feedback, and the role of self-esteem. Emerald Insight, 22, 590-609.

John Hattie, H. T. (2007, March). The Power of Feedback. Review of Educational Research,

77, 81-112.

Remus Ilies, I. E. (2007). Differential affective reactions to negative and positive feedback,

and the role of self-esteem. Emerald Insight, 22, 590-609.

Shanab, M. E., Peterson, D., Dargahi, S., & Deroian, P. (2010, June). The effects of positive

and negative verbal feedback on the intrinsic motivation of male and female subjects.

The Journal of Social Psychology, 195-205.

Vermeer, A. B., & Sanfey, A. G. (2015, September). The effect of positive and negative

feedback on risk-taking across different contexts. PLoS ONE, 10(9), 1-13.

doi:https://doi.org/10.1371/journal.pone.0139010
EFFORT, FEEDBACK AND AFFECT AMONG THE THEATRE ARTISTS 14

Karmakar, D. (2013, December ). Theatre and communication: Relation between actor and

audience. Global Media Journal-Indian Edition, 4(2), 1-6.

Molleman, E. (2017, may). How a powerful audience and audience feedback moderate the

relationship between performance-approach orientation and exaggerated self-

promotion. The International Journal of Human Resource Management, 1-20.