SUSANA BLOCK, PEDRO ORTHOUS AND GUY SANTIBAMED-H RR EEERO CRTHOUS AND GUY SANTIBAREZH BASIC EMOTIONS p [bo Defi ion We consider as “basic emotions” those types of emotional behaviors which are pres- fat in the human infant and in animals (at least in mammals), either as innate bchaviors or apparent at very early stages of post-natal development. We are there fore dealing with the basic invariants of emotional behavior in a manner close to the ‘meaning given to emotions by Darwin (1965 [1872). In the description of the basie emotions we are not considering the social and cultural aspects which certainly modify such emotional behaviors. Studies on the regulation of emotion in social interaction are currently being investigated by among others Scherer eva. (1983), For review of the psychobiological literature, the reader is referred to Panksepp (1982) We shall use in the presentation of our training method only the effector patterns of the following six basic emotional behaviors (see Bloch and Santibafer-11 1972, Santibatiez-H and Bloch 1986): happiness (laughter, pleasure, joy); sadnes (crying, sorrow, grief, depression); fear (at caxiety, panic); anger (aggression, attack, hate), eroticism (sex, sensuality, lust); tenderness (filial love, maternal/paternal love. friendship), In the observation of emotions, one can see that there is a phasic (transient, stimulus-bound) reaction and a ronic (maintained in time, not clearly stimulus, bound) state. The denominations in brackets in the list below belong to the cat. cgory of the emotion in question and indicate differences in intensity and/or in Whether the reaction is phasic or tonic. For example, depression is the tonic state corresponding to the same effector pattern as the phasic reaction of crying; anxiety corresponds to a maintained state of fear and hate to a chronic state of anger. The basic emotions can be represented, from @ postural point of view, on two axes namely tension/relaxation and approach/avoidance. Such a representation may Contribute to differentiating between the six basic emotions, setting the emotion of happiness, eroticism and tenderness apart from each of the others (Figure 17.1). Tense (aR) Avoidance Approsch i HAPPINESS | (Sapness]------- ~ fesonicism | Retored TENDERNESS) Fig. 17.1 A representation of the sx basic emetions in terms of Postural tensiowvrotaation and aparoachiavoidance parameters. re cerecvonpATTEWNS OF Baste EMOT ‘Afiner differentiation amon the particular muscular act facial tnimiry. Table 17.1 respect to the posture an included, sintering observe erotic ness, tendemess an ing nature, they clearly diff and tendemess, while bre: aperture is different: open f Description of the effector ref description of the sein as anand eat Bloch 1986) will be given it exercises that were develor Happiness-laughter. The b tory movement followed t invade the expiratory pa muscular tonus is qui imusces, especially the< ter, subjects tend to sit or the museulus earinus and The eyelids are relaxed, a Sadness-erying. The bret saccadic movements mo modulation may be pro! ‘pause, but itis essentiall breathing pattern. The P relax, particularly durin posture in which flexio Table 17.1 Scher Emotion Post Happiness R sates R Fear r ‘Anger 1 Eroticism Tenderness Schematic represen R, relaxed) and of ‘the basic emotions are indicatedvie which are pres- Is), either as innate oment. We are there- manner close to the cription of the basic ects which certainly of emotion in social erer e¢ al. (1983). For to Panksepp (1982) the effector patterns Santibatiez-H 1972; joy); sadness (crying, sssion, attack, hate); ternal/paternal love, + a phasic (transient, not clearly stimulus- ww belong to the cat- a intensity and/or in sion is the tonic state ion of crying; anxiety ie state of anger. doint of view, on two va representation may 5 ag the emotions + others (Figure 17.1). \oprosch lerms of meters. EFFECTOR PATTERNS OF BASIC EMoTIONS fainet differentiation among the three is given by the particular breathing pattern, {ne ticular muscular activation within the given postural pattern and by the facial mimicry, Table 17.1 attempts to convey ths information schematically with sekeaeg? (he Posture and breathing features, the facial expression not being included. {tis interesting to observe that though the three so-called positive emotions (happs ess tendemess and eroticism) are generally speaking relaxed and of an approach. ing nature they clearly differ in their breathing pattern. With respect to orotacarn and tendemess, while breathing is quite similar, the magnitude of the mouth @perture is different: open for the first and semi-closed in a smile for the second Description of the effector patterns A brief description of the respiratory-postural-facial components of each basic Emotion as analyzed earlier (Bloch and Santibafiez-H 1972; Santibafier-H and Bloch 1986) will be given in an attempt to present the rationale behind the differnt exercises that were developed. Tappiness-laughier. The breathing is characterized by a deep and abrupt inspira: jor jrovement followed by a series of short saccadic expirations which may even lnvade the expiratory pause. The posture is relaxed; the distribution of the phase muscular tonus is quite particular, with a tendency to diminish in the extensor ‘auscles especially in the antgrevitational groups. Asa consequence, during laugh, tes, subjects tend to sit or even to fall. The mouth is open, and the contraction of qemusculs caninus and m. zygomaticus results in the exposure of the upper teeth The eyelids are relaxed, and the eyes are semi-closed, Sachesscrying. The breathing patter is the opposite of thet of laughter: rapid saccadic movements modulate the inspiratory phase in this case. This saccadic modulation may be prolonged into the expiratory phase and into the respiratory pause, but itis essentially the inspiration by saccadic bursts that characterizes this breathing pattern. The posture is relaxed and the antigravitational muscles tend ta relax, particularly during the sharp expiratory movements leading the body toe Posture in which flexion predominates (the body “hangs” as it were). The face Table 17.1 Schematic representation of posture for the basic emotions. Emotion Posture Direction Main breathing trait Happiness Ap Saccadic exairation (mouth open) Sadness ay Saccadic inspiration (mouth open) Fear T Av Inspiratory apnea (mouth open) T ap Hyperventilation (mouth closed tight) R Ap ‘Small amplitude, low frequency (mouth open) Tenderness Ap ‘Small amplitude, low frequency (mouth closed in a relaxed smile) Schemat R, relaxed) and of the bady main direction (Np, approach; Ay, avokdance) Yor cache {he basic emotions. n the last column the main breathing trait and mouth; erase are ingicated Presentation ofthe posture in terms of predominant muscle tonus (T, tense: 23SUSAIA BLOCH, PEDRO ORTHOUS AND GUY SANTIBAAEZ-H PHYSIOLOGICAL CONTROL, ‘Trained actor s,m. rectus abdominig, © and m masseter. The actor was lying CBeckans” it @ Soundproof, electrically shielded chamber. Contact electrodes 4 (ieckman) were attached for ECG and EMG recording, and a transducer naa i Placed around the chest for recording respiratory movements. ‘The recording apparatus (Grass polyeraph) was situated in an adjacent room. In order te Cbiain & control baseline, the actor was instructed to lie relaxed and to breathe normally Keeping as sill as possible. He was then asked to start an emotiond The carrer /in&.n0t to make overt movements, thai, just to change the breathing, (Re Soresponding muscle tonus and the facial mimicry. The onset signal ay the name of the trained basic emotion and the release signal the wort “stop” While the actor was performing the pattern, a professional photographer Rene Ros) took pictures of his face. A polygraph recording of the abocg Povsiologicel indices during the execution of the anger pattern is shown ia Figure 17.2, No quantitative analysis was done at this point, and the recording should only be faken asa qualitative illustration of the activation patterns. The subject breathing normally. As the word “anger” is signaled (upwards arrow), he starts to breathe With a higher frequency and a larger amplitude. A few seconds later he tence the legs, his face almost naturally following with (downwards arrow), the § leep breathing cycles and TT a BBV (ey muscles, mainly of the arms an the corresponding mimicry. When the stop signal is given ( immediately relaxes the face and the body, gives a few dé ANGER Fis. 17.2 A polyaraphie recording during the anger effector pattern berformed by an actor trained using this method. Upper trace, CG, ‘middle trace, pneumogram. Lower traces, EMG fram top to bottom of ‘masculus orbleularis ons, m. masseter ma. brachioradlaiszm. rectus nsider to be the primary states of emotion? My next question was: What is ‘e physiological behavior asociaced with each of the primary emotion? imple ofa specif wethod that employs behavioral science in a poy. physiological way is Alba Emoting (also called BOS method, or Fcctor Sern Tining), Irs developed dough research in neuroscience and pay logy: Tes fandemenal premise (eupported by considerable researc) x4 person adopts certain detailed paucmns of breathing, posture, fal >ression, and (sometimes) vocalization, ‘otional stare easily and deeply. In the ickly enter and step eut of strong pris votional states in complex ways, then that person can enter into an training, actors develop the skill to imary emotions, and later to mix resding the mate on Alba Emoting I realized that one of my fist umptions when beginning ths journey was limiting as 1 model, Earken, x surmised that “emotional sates resulted in certain specific physiological jie which in cum would lead to certin vocal behaviors," Thar idevion ess equation: derived from Murray and Arnott (p. 11034) and Bloch, 11. Susonna Bloch, a a. cigifeant researchers in the area of azting and emation place eaticem and {enderness separately and inthe etegory of precy emotions (2003). Pl PI %Table 2, Collation of the elements ofthe Effector F. ems of Basie Emotions (Bloch, etal, p. 202-2), EMOTION Happiness Laughter Fear-Anxiety Sadness-Crying Anger Aggression Sox-Eroticism Tenderness RESPIRATION PATTERN Deep and abrupt inspiratory ‘movement followed by a series of short saccadic (jerky) expira- tions which may even invade the expiratory pause, Rapid saccadic movements mod- ulate the inspiratory phase, and may be prolonged into the expi- ratory phase, and into the respi ratory pause. POSTURAL ATTITUDE Relaxed. Distribution of the pha- sie muscular tonus has 2 tendency to diminish in the extensor muscles, esp. in the antigravitational groups. (subjects may tend to sit or fall Relaxed, and antigravitational ‘muscles are relaxed, esp. during the sharp expiratory movements, leading the body to a posture in which flexion predominates (the body *hangs"), FACIAL EXPRESSION Mouth open, contraction of the musculus caninus, and m. zygomaticus Tosults in exposure of ‘the upper teoth. Eyelids relaxed, eyes are semi closed, Relaxation of m, ‘masseter, m. perilabialis, and the palpebral mus- cles. Eyes are somi- closed, or tensely closed, brow contracted by 2 frown, A period of inspiratory hypopne- ic (slow, shallow) movements followed by passive incomplete ‘exhalations, and sometime by an expiretory-inspiratory ‘sigh-like' phase, This can alternate with ormal breathing cycles making the pattem irregular, ‘Sigh-lke" vocalizations on both inspiration, ‘and expiration. Withdrawal posture; massive increase in muscular tonus main- 'y affecting the antigravitational ‘Groups, esp. those involved in extending the head. the overall tonus of facial muscles, with targe opening of the mouth and eyes (which may protrude with strong mydri (Gilation of the pupil). High frequency, and high ampli- tude with breath channeled mostly through the nose, Even breathing pattern which inereases in frequency and ‘amplitude. Inspiration occurs through a relaxed open mouth. Low frequency breathing with ‘even and regular rhythm, Vocalization includes a humming type lullaby sound, Muscular tonus inereased in all the antigravitational extensor Muscles, esp. those related to posture of attack, Posture of relaxed approach, with m. quadriceps femoris, and 'm. rectus abdominis increase tonic activity tending to give phasic synchronized discharges. Rhythmic pelvic movements ‘are added which increase with frequency. Postural attitude is one of ‘approach, with antigravitational muscles very relaxed, Tense facial muscles, lips pressed together, eyes are semi-closed ‘owing to the contraction of the superior palpebral muscles. Facial muscles relaxed, eyes closed or semi- closed. In female ver- sion, head is tilted backwards, and eck exposed, Mouth is semi-closed, ‘elaxed lips forming a slight smile. Facial mus- cles relaxed. Eyes open and relaxed, Head slight- Iy tilted to ona side 4 oo fin St Pl PI Pl we+4 Quelty i poops, the vaguest af these torms. Fate pie inentty, ane articulation can all be bjectvoly moscured,Gualty, 35 ncerpreted By esearchre in ciforen lds, was elated to con ‘epi ike placement, rzananece, timbre, tonal foCus, ‘he With the exception of piteh overtone ae 9 meas roof resonane, tie 2 more subjenve and und tines area (Murey and Arnott. 903) ‘Now that had betes information on the phrilogical states associated with cach ofthe primary emotions I wanted to move on to my third question, and fet more dealed information on the zoal behavior associated with those physiological stats. ‘Vocal Behaviors of the Primary Emotions Psychotherapists recognize that vocal expression ia key factor in diagnosis “The voice san important component in nealy every diagnostic model of a heightened affective sate (DSM-1V). That makes sense when one considers that a therapist is asked to make a diagnosis when presented with only the patients behavioral and emotional history and che evidence of tha individ- ual’ curent physical and vocal behavior. Often clinicians use observation of| ‘vocal behaviors as a diagnostic ool (Moses p. 1). The voice holds important clus 0 undersanding the inner life of the person. In the DSMt-1V, observations about the patient's vocal characteristics appear to be divided into two large areas: the manner of expression and content. Since, in the cheatre, the playwright usully supplies content, che focus here is on the expressive elements of voice and speech. Questions of content are left for literary analysis. In an effort to identify the component parts of human vocal emotion, researchers examined the following vocal characteristics: speech rate pitch average, pitch range, pizeh changes, intensity (loudness), quali! and articulation. The following table 3) is a surnmary created by Murray and ‘Ammote (p.t06) from cheir survey ofthe research erature. ANGER HAPPINESS SADNESS FEAR biscusT ‘SPEECH RATE Slightly fastor Faster or Slightly slower Much faster Very much slower slower PITCH AVERAGE —Verymuch Much higher Slightly lower Very much Very much lower higher higher PITCH RANGE Much wider Much wider Slightly Much wider Slightly wider narrower PITCH CHANGES Abrupt,on Smooth, Downward Normal Wide, downward stressed upward inflections. terminal inflections syllables inflections INTENSITY Higher Higher Lower Normal Lower VOICE QUALITY —Breathy, chest Breathy Resonant Irregular Grumbled chest tone tone blaring voicing ARTICULATION Tense Normal * —Slurring Precise Normal “abies, Summary of human woes! emotion effet, The fists deserved are the most commonly aecoiatd with the emovens indicated, ond are "elaive te neue speech (Muay and Aro, p, 1106. 56Readings of Interest Bloch, Susana. "Alba Emoting: A Psychophysiological Technique to Help Actors Create and Control Real Emotions." Theatre Topics 3.2 (1993): 121-38. Print, Burgoyne, Suzanne, Karen Poulin, and Ashley Rearden. "The Impact of Acting on Student Actors: Boundary Blurring, Growth, and Emotional Distress." Theatre Topics 9.2 (1999): 157-79. Print. Dal Vera, Rocco. “The Voice in Heightened Affective States”. The Voice in Violence. The Voice and Speech Review. Fink, Timothy J. "Alba Emoting: A New Technique for Emotional Projection." Opera Journal 39.4 (2006): 3-28. Print. Meyer-Dinkgréfe, Daniel. "Chapter 3: Consciousness and Acting." Intellect Ltd, 2005. 55-91. Print. Richard Owen Geer. “Dealing with Emotional Hangover: Cool-Down and the Performance Cycle in Acting." Theatre Topics 3.2 (2010): 147-58. Print. Rix, Roxane. “Learning Alba Emoting." Theatre Topics 8.1 (1998): 55-74. Print. Roxane Rix. "Alba Emoting: A Preliminary Experiment with Emotional Effector Patterns." Theatre Topics 3.2 (2010): 139-45, Print. Bloch, Susana, Orthous, Pedro and Santibanez-H, Guy. “Effector Patterns of Basic Emotions: A Psychophysiological method for training actors." Acting (Reconsidered. 1995. Print. httn://breathxpress. wordpress.com/alba-emotina/jewion, 240} is0y9 pajqwinig 130) suonooyur yeujwioy PemUNOP ‘epiM sap AnUBS 42mo] yon Asap amos yonus Aion asnosia esta Buro100 sein, ewion, jewuon, 29pm Yor, sayy onus Aap, 201se) yon vad suuinis qweuosey 49m0} suonsayur puomumog ‘Anubis 9m] AuyBi semoys AnUSIS ss3navs ‘uowous ain woe potnaosseAvowsues ou 9 aie pagLonap Soop a4 Saye uot, rewuon, Buvea Aneaig 494844 suonsoyut puemdn ‘woows, s0p1m yor 48y514 yomyy semoys so 103804 SS3NIddvVH suey eu01 soup Ayoaug 29401H sarae its possa.ns uo yamiqy 29pm yoni sayy Yon Aiea, soisey AnyBus u3ONV NOLLVINOWLYY ALIIYND 39100, ALISNSLNI S3ONWHO HOLId BONVY HOLId BOVYSAV HOLId Ble HOa3dS:ne loch, et al, p: 202-3) ‘Table 2, Collation of the elements ofthe Effector Patterns of Basic Emotions ( EMOTION Happiness Laughter Fear-Anxiety Sadness-Crying Anger ‘Aggression Sex-Eroticism Tenderness RESPIRATION PATTERN POSTURAL ATTITUDE FACIAL EXPRESSION ‘Deep and abrupt inepratory _ielaxad Distribution ofthe pax Movs Sren, contraction peep mont followed by a series sic muscular tonus has of the musculus caninus, rove cic erky) expira- a tendency to diminish inthe and oy "yarns ceanethien may even invade the extensor muscles, esp. it fasults in exposure of expiratory pause. the antigravitational groups. the upper teeth. Eyelids Itubjects may tend to sit or fall. rolaxed, eyes are sor close: acid saccadic movements maod- Relaxed, and antigravitational Relaxation of apie Sacrmplratory phase, and muscles are relaxed, esp. during masseter perilabialis, ste pe prolonged into the axp-_ the sharp expiratory movements, ‘and the palpebral mus- aa ieermd imo the respi-_ leading the body to a posturain ces Eyes es Si, ratory pause. texan flexion predominates (the closed, or tensely closed, body "hangs") brow contracted by a frown. Eee A period of inspiratory hypopne- Withdrawal posture: massive | rcreane 1 2 overall A period of ieplranovementsinerease in muscular tonus main- tonus of faci! Teac es, ic low oarcucive incomplete IV affecting the anigravitatonel with argo ope of followed by Passi yatime by an groups, esp. those involved athe mouty and ves SMpiratory-napiratory sigh-lke’ extending the head. (which may protrude phese. This can alternate with with strong mydriasis hormal breathing cycles making [dilation of the pupil. the pattern irregular. 'Sigh-lke Yocalizations on both inspiration, And expiration. ——eE igh requency, and high ampli-- Muscular tonus increased in Tense a0) muscles, High freauenet channeled allthe atigravitational extensor lis prstod want: mostly through the nose. auscles, agp. those related to eyes are semiclosed 2 posture of attack ‘owing to the contraction ff the superior palpebral muscles ‘ven breathing pattern which Posture of relaxed approach, | Facial rustien relaxed, Even reeizguency and. wath m. quadriceps femoris, and oer cist test ince inspiration acars ro. rectus abdominis increase lose. fanale Vat arte jlaxed open mouth. tonic activity tending to give son, neat basic synchronized discharges. tilted backwards, and Fiiythmie pelvic movements neck exposed. fare added which increase with frequency: Low frequeney breathing with Postural attitude is one of Mouth is semi-closed, even and regular rhythm. Epproach, with antigravitational celaxedlins forming @ (egbimation includes a humming muscles very relaxed. Slight smile. Facial mus type lullaby sound. ‘les relaxed. Eyes oe ‘ond relaxed. Head slight Iy tilted to one side,' (Bloch, et al, p. 202-3) able 2. Collation of the elements of the Effector Patterns of Basic Erm EMOTION Happiness Laughter Fear-Anxiety Sadness-Crying Anger Aggression Sox-Eroticism Tenderness RESPIRATION PATTERN, Deep and abrupt inspiratory movement followed by a series of short saccadie (jerky) expira- tions which may even invade the expiratory pause. Rapid saccadie movernents mod ulate the inspiratory phase, and may be prolonged into the expi- ratory phase, and into the respi- ratory pause. POSTURAL ATTITUDE Relaxed. Distribution of the pha- sic muscular tonus has ‘tendency to diminish in the extensor muscles, esp. in the antigravitational groups. {subjects may tend to sit or fall) Relaxed, and antigravitational muscles are relaxed, esp. during the sharp expiratory movements, leading the body to a posture in hich flexion predominates (the body "nangs") FACIAL EXPRESSION ‘Mouth open, contraction of the musculus caninus, ‘and m. zygomaticus results in exposure of ‘the upper tooth. Eyelids relaxed, eyes are semi- closed. Relaxation of m. masseter, m. perilabialis, {and the palpebral mus: cles. Eyes are semi- closed, or tensely closed, brow contracted by a frown, A period of Inspiratory hypopne: fo (elow, shallow) movements followed by passive incomplete foxhalations, and sometime by an expiratory-inspiratory ‘signe! phase. This can alternate with formal breathing cycles making the pattern irregular. ‘Sigh-lke" Yocalizations on both inspiration, and expiration. withdrawal posture; massive increase in muscular tonus mair Iy affecting the antigravitational ‘groups, esp. those involved in extending the head. Increase in the overall tonus of facial muscles, with large opening of ‘the mouth and eves (which may protrude with strong mydriasis (dilation of the pupil. High frequency, and high ampli- tude with breath channeled mostly through the nose. Even breathing pattern which increases in frequency and ‘amplitude. Inspiration occurs through a relaxed open mouth. Muscular tonus increased in tll the antigravitational extensor muscles, esp. those related to f posture of attack. Posture of relaxed approach, with m. quadriceps femoris, and fm rectus abdominis increase tonic activity tending to give phasic synehronized discharges. Rihythmie pelvic movements tare added which increase with ‘Tense facial muscles, lips pressed together, eyes are semi-closed ‘owing to the contraction of the superior palpebral muscles. Focial muscles relaxed ‘eyes closed or semi~ closed. in female ver- sion, head is tiited backwards, and ack exposed. frequency. Low frequency breathing with ‘even and regular rhythm. Vocalization includes 2 humming type lullaby sound. Postural attitude is ono of ‘approach, with antigravitational muscles very relaxed. Mouth is semi-closed, relaxed lips forming a Slight smile. Facial mus cles relaxed. Eyes ope" ‘and relaxed. 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