Effects of Theatre Arts on Emotional Intelligence

Effects of Theatre humanistic discipline on delirious intuitionThis ingest has attempted to examine the impact that an individuals pursuit in Theatre Arts has on his or her delirious pa graphic symbol (EI). The hypothesis in the portray research is thus, there is a electropositive congenatorship among ones contact in field of c fine artoon liberal humanistic discipline and their mad scholarship. Participants of this breeding were residents of Bangalore city, India (N=80). The scale which was use in this research to administer on the essay was the stirred follow through Scale, contriveed by Anukool Hyde, Sanjyot Pethe and Upinder Dhar. The findings of the athletic field were such(prenominal) that individuals who boast been active musicians of sign of the zodiac humanities had a high uper EI (M=138.67) than those individuals who were not undetermined to the mansion arts (M=129.65). These results indicate that exposure to, participation in and the c learing of the mansion arts is highly useful in delirious, and hence amiable fountainhead-being.EMOTIONAL password AND THEATRE ARTSEmotional recognition (EI) is defined by make and Sawaf (1997) as the powerfulness to sense, beneathstand and effectively apply the power and cleverness of emotions as a rootage of human energy, information, connection and influence. It comprises of the power to discriminate accurately, evaluate and express emotions the ability to comprehend emotions and delirious knowledge and able growing. It also is characterized by- self awareness, sense of humour management, self motivation, empathy, managing family relationships. The intimately extensively recognised definition of stirred intelligence, is that inclined by Peter Salovey and John D. Mayer, who generate been leading researchers in the field, and is defined as the subset of loving intelligence that concerns the ability to monitor ones own and some others feelings and emotions, to discriminate among them and to use this information to guide ones mentation and actions (1990).What popularized the guide of emotional intelligence is the universalation of Golemans bestselling Emotional Intelligence in 1995. This model introduced by Daniel Goleman places its focus on leadership performance steer by a large collection of competencies and skills by agency of emotional intelligence (Goleman, 1988). Golemans model demarcates four main EI constructs, namely, self-awareness, which is the ability to construe ones emotions and understand their influence term using intuitions and instincts to direct decisions self-management, that which has to do with secureling ones emotions and impulses and adjusting in new situations social awareness, the ability to discern, comprehend, and reply to others emotions and relationship management, the ability to motivate, influence, and develop others while dealing with difficult situations (Bradberry, Travis and Greaves, Jean, 200 9).The origins of this subject can be traced ski binding to Darwins urinate on the importance of emotional expression for selection (Bar-On, 2006). In The Expression of the Emotions in Man and Animals (1872), Darwin depute forth that human emotional expressions get under ones skin an adaptive and survival value, and that this feature has its consequences in its evolution. However, he posited that there are any(prenominal) human reactions which are not of significant survival value now, except were in the past, and that this, coupled with a similarity of emotional expression among all human beings suggests a common descent from an former pre-human ancestor (Encyclopaedia of Psychology, n.d.).In the twentieth century, publications began appearing with the work of Edward Thorndike on social intelligence in 1920, which described the skill of understanding and managing other large number (Bar-On, 2006). Many of these early studies focused on describing, defining and assessing so cially suitable behaviour (Chapin, 1942 Doll, 1935 Moss Hunt, 1927 Moss et al., 1927 Thorndike, 1920). This was then followed by studies on the influence of non-intellectual factors on sizable behaviour, by D Wechsler (as cited in Bar-On, 2006) and the sen cadencent of multiple intelligences as put forth by Howard Gardner in 1983 (Smith M.K., 2002). In the recent old age the champaign of emotional intelligence has escalated. Research includes areas ranging from emotional intelligence and its relationship with work place and social competencies to its influence on a healthy and fertile life as such (Consortium for Research on Emotional Intelligence in Organizations, http//www.eiconsortium.org/about_us.htm). For example, emotional intelligence has become increasely popular as a measure for identifying potentially effective leaders, and as a beam of light for developing effective leadership skills (Palmer, Walls, Burgess, Stough, Leadership and Organization Development Journal , 2001). In the subscribe mentioned, emotional intelligence correspond with several components of transformational leadership suggesting that it whitethorn be an valuable component of effective leadership. In particular emotional intelligence whitethorn paper for how effective leaders monitor and respond to subordinates and make them feel at work. Further in a instruct conducted by the Center for Creative Leadership, in the USA, individual hemorrhoid as obtained by a multi-rater feed ski binding tool called Benchmarks were compared to self-reported emotional intelligence as careful by the BarOn EQ-I, and the findings were that pick up leadership skills and perspectives are related to aspects of emotional intelligence and the absence of emotional intelligence was related to career derailment (Leadership Skills and Emotional Intelligence, Center for Creative Leadership, http//www.ccl.org/leadership/pdf/assessments/skills_intelligence.pdf, 2003).The learning of emotional intell igence has been of high momentum in the field of healthcare as well. In the year 2000, composition conducted by Joseph Cairochi, Frank P. Deane and Stephen Anderson, Department of Psychology, University of Wollongong, Australia, hypothesized that EI would make a alone(predicate) contribution to understanding the relationship between focusing and three important mental health variables, depression, hopelessness, and suicidal ideation. This was a cross-sectional study where university students were indispensable to evaluate their life-stress, objective and self-reported emotional intelligence, and mental health. One of the findings revealed that stress was associated with commodiouser suicidal ideation among those low in managing others emotions (MOE). MOE was shown to be statistically different from other relevant measures, suggesting that EI is highly essential in understanding the link between stress and mental health.Emotional Intelligence and Alexithymia-Alexithymia- literal ly without words for emotions, in Greek- was a term originally coined by psychotherapist Peter Sifneos in 1973 in order to describe a state of deficiency in understanding, processing or describing emotions (Bar-On Parker, 2000, p40-59, Taylor ,1997, p28-31). Alexithymia is defined by many factors, such as, barrier identifying feelings and distinguishing between feelings and the bodily sensations of emotional arousal difficulty describing feelings to other nation constricted imaginal processes, as evidenced by a paucity of fantasies a stimulus-bound, externally oriented cognitive style. (Taylor,1997, p29).Logically, one would expect an inverse relation between the constructs of alexithymia and emotional intelligence. This expectation has been supported in the literature. Schutte et al (1998) implant that in a sample consisting of University students, a self-report measure of emotional intelligence (the Self Report Emotional Intelligence Test) was significantly inversely correlate d with the Toronto Alexithymia Scale, which was used as the model measure for alexithymia . Research with larger connection samples has particularly gear up significant associations. For example, Parker, Taylor, and Bagby (2001) found a strong disconfirming correlation between the Emotion Quotient Inventory and the TAS in a sample of 734 community members (Stys, Brown, 2004, A Review of the Emotional Intelligence- Literature and Implications for Corrections, 28).According to Johanna Vanderpol (n.d.)- author, speaker, rail and workshop provider in emotional intelligence and emotional upbeat, Canada- art and head for the hills, which are forms of emotional expression, are the essential ways in which individuals, peculiarly young children, expand their abilities and master their environment, further stating that emotional expression is but a part of developing emotional intelligence.One such study presented a series of experiential exercises designed to use visual arts and poe m in classroom settings to increase students awareness and recognition of emotion-two key components of emotional intelligence (Morris, Urbanski, Fuller, 2005). In a study titled Emotional Intelligence and the Performing Arts Crossing Disciplinary Boundaries, an experiential dressing architectural plan that employed the Ability Model of emotional intelligence (Salovey and Mayer, 1990, 1997) was make with performing arts and drama therapy to create a workshop program, whose let was to increase the awareness of the role of emotions in working life, and provided interactive skill opportunities to pledge with complicated emotional dilemmas arising from their leadership roles. Survey results from the workshops and a focus- ag root at three months follow-up revealed that participants used the learning experience of the workshop to place and resolve specific leadership challenges in their role (Rauker, Skinner, Bett, 2009).The current study attempts to show a relationship between e motional intelligence and ones social occasion in the Theatre Arts. Theatre, or Drama, as it is more commonly known, is the most integrative of all the arts it can and often does, include singing, dancing, painting, sculpture, storytelling, puppetry, music, numbers and of course, the art of acting (Snow, DAmico, Tanguay, 2003, p73). Also it has been of wide contention that there is an connatural healing function in theatre which goes all the way back to its origins in human culture (Bates, 1988 Emunah, 1994 McNiff, 1988 Pendzik, 1988 Snow, 1996). A wide range of study has been done on the influence of drama on psychological well being and the role it plays in psychotherapy, hence giving rise to the concept of Drama Therapy. Drama therapy is one of the several expressive or germinal art therapies among which are art therapy, dance/movement therapy, music therapy, poetry therapy and psychodrama, concerning the therapist and the client who attempt to evaluate their life experiences as they engage in a largely creative process, in this case by the media of drama and theatre (Landy, 2006, p135). One such drama therapy technique that has been canvas is Dramatic Resonances. This method is establish on the creative responses that participants offer from inside dramatic man to an input posed from outside dramatic reality (Pendzik, 2008, p217). Further, therapeutic theatre has been a growing field and which is an approach that involves a therapeutic development of a play and its presentation in scarer of an audience (Pendzik, 2008). It is defined as the therapeutic development of a play in which the roles are established with therapeutic goals in mind the full process of play production is, in fact, a form of group psychotherapy it is all facilitated by a therapist skilled in drama and finally the play must be performed for a public audience (Snow, DAmico, Tanguay, 2003, p73). However, according to Robert J. Landy, though the field of drama therapy has been gr owing by the numbers, university-based training programs in the USA are inadequate (Landy, 2006). This trend could be an indicator of a potential consequent decline in the study of this field. This paper aims to encourage a positive shift from such a trend and bring about a focus on an increasing awareness and at straination of the constructive relationship between Drama and emotional intelligence.Considering the significant research that has gone into the relationship between emotional well-being and the theatre arts, largely in the West, this study attempts to investigate the prevalence of a positive relationship between a thorough social function in the Theatre Arts and emotional intelligence, among individuals residing in a theatre-active city in India. The study is conducted by means of a questionnaire that is based on the Emotional Intelligence Scale, as effected by a total of great hundred individuals, all of whom reside in Bangalore, India, a city acclaimed for its active involvement in the theatre arts.MethodologyParticipantsThe study was conducted by means of a standardized questionnaire, viz. the Emotional Intelligence Scale (EIS), as completed by a total of 80 individuals, all of whom reside in Bangalore, India, a city acclaimed for its active involvement in the theatre arts. Of these 80 individuals, 40 belong to the control group. This group consists of individuals who have not been exposed to the theatre arts. Of these 40 individuals, 20 belong to the age group of 20-25 old age (M age-group= 21.5) while the counterbalance belong to the age group of 30-35 years (M age-group= 32). The observational group consists of 40 individuals who have been active members of theatre associations across the city. Of these 40 individuals, 20 belong to an age group of 30-35 years (M age-group=32.5) while the rest belong to an age-group of 20-25 years (M age-group=21.5).Ethical concerns were met with, as the participants were informed of the purpose of the st udy, were do to sign a consent form before participating in the study and were assured of confidentiality.MaterialsThe questionnaire used was a standardized Emotional Intelligence Scale developed by Anukool Hyde, Upender Dhar Sanjyot Pethe, in the year 2001, published by Vedant Publications, Lucknow and consisted of 34 questions based on the Likert scale, in a way that the participant was asked to respond to each statement-question by choosing one of the five options- Strongle Agree, Agree, Uncertain, Disagree, Strongly Disagree. endeavorThis study fundamentally deals with two variables which are involvement in the theatre arts and emotional intelligence, the dependent variable being emotional intelligence and the independent variable being involvement in theatre arts. Of the 80 individuals, 40 belonged to the control group, consisting of individuals who have not been exposed to the theatre arts. The experimental group consists of 40 individuals who have been active members of th eatre associations across the city. Of these 40 individuals, 20 belong to an age group of 30-35years and have had experience in one or more of the various aspects of theatre such as acting, directing, story-telling, music, etc for a minimum of 10 plays while the rest belong to an age-group of 20-25 years and have similarly participated in a minimum of 5 plays so far. This division of age groups was employed with an aim to represent a growth in the groups emotional intelligence.ProcedureThe experimental group was obtained at an auditioning program held by Evam, a leading dramatics association in Bangalore, when 40 individuals, some who were auditioning and some organizing, were approached to on a one to one basis, and do to fill out the EIS questionnaire each. Demographic details as their age, sex and experience in theatre were taken. The control group consisted of randomly selected individuals who reside Bangalore, and have had no experience of involvement in the theatre arts. They were similarly make to fill out the EIS, along with their respective corresponding details. The entire study was conducted in one city in an attempt to maintain a certain consistency in obtaining the results, and minimising any potential disparity.ResultsWith the raw scores obtained, the statistical analysis that followed included finding out the mean, standard deviation, standard error of the difference between the means of two samples and employing of a non-parametric test as the Mann-Whitney U test.In the results obtained for the Mann-Whitney U test, the z values of sampling distribution of U an U, 2 and 5.68 respectively, were found to be significant at two 0.05 and 0.01 levels. The average mean for the experimental group was 138.67, and for the control group was 129.65. For the experimental group, the value of standard deviation was found to be 8.83. For the control group, the SD obtained was 1.11. In determining the moment of the difference between the two means of the two groups, the standard error obtained was 2.10, for which the z value was found to be 4.29. Thus, the computed z value was found to be significant at both 1% and 5% significance levels.Further, the Mann-Whitney U test was employed to the subgroups under the experimental group in order to show a positive relation between the two. While the z value obtained for U was found to be 1.48, implying insignificant at 0.05 and 0.01 significance levels, the z value obtained for U was 7.85, which meant significant at both 0.05 as well as 0.01 significance levels.DiscussionThis paper has attempted fundamentally to study the symbiotic relationship between ones involvement in the theatre arts and their emotional intelligence, and how, with cadence and experience, an increasing involvement in the same renders one to develop greater EI, which in turn implies an increased accuracy in perceiving, appraising, managing and expressing emotions. As cooper and Sawaf demonstrated in 1997, the characteristi c manifests of a high EI include self-awareness, mood management, self motivation, empathy and managing relationships. Thus, through investigating the levels of emotional intelligence of the participating individuals, and ask into their experience in the theatre arts, the researcher has arrived at findings which show a positive relationship between the two variables. From examining the results obtained, some of the deductions are, that young adults who involve in the theatre arts as drama (acting), music, story-telling, and direction, tend to have a high emotional intelligence as compared to young adults who do not engage in any of the theatre arts and that with time and experience these individuals could possibly have a propensity to a unvarying growth in their EI, again, as compared to individuals of their age, who have had no inclination towards the theatre arts. These two findings could further imply that these individuals would be likely to have more rewarding, productive and successful lives. One more supposition which could be cadaverous from the results of this study is that these individuals could be liable to do better coping with the stress and setbacks, implying a lowered risk of heart disease, anxiety attacks, psychological distress, forty winks problems, high blood pressure, poor immune function, alcoholism, etc (Mikolajczack, Luminet, Menil, 2006 Hunt, Evans, 2002 Trinidad, Johnson, 2000). However, there are some probable challenges that can be posed to these conclusions. The entire study was based in one single city, and the challenge in this case is that the theatre-culture may vary from city to city, just as from theatre-group to theatre-group. Therefore, generalizing the results would have to be check only to the city where the study was conducted. Further, the study did not consider the role gender could play in the relationship between ones EI and their involvement in the theatre arts, as there was no categorization of the two sexes w hile conducting the study. This could, in fact, entail future experiment on whether gender plays a role in the development of EI, by way of thorough involvement in the theatre arts. Additionally, the researcher has considered the theatre arts as a whole, comprising of its various aspects such as acting, music, story-telling, and direction. The participants of the study belonging to these categories were distributed unequally. Thus, the results obtained in the study are required to be considered generically and cannot be taken into account categorically. Probably, further research could be carried out to study the individual aspects, such as acting, alone, for example, and studying the aspects relationship with the participants emotional intelligence. One possible source of error and an intervening variable could have been the environment of administering the test and the mental set of the participant while filling out the questionnaire. It must be noted that the study was conducted at an auditioning program of a theatre group and that most of the participants of the study had only just finished their turn at the audition. It can be assumed that the mental set of the participant at this stage, could have possibly affected his or her responses in the test. In other words, the participants perception of his or her own performance at the audition, which could either have been positive and affirmative or negative and uncertain of his or her chances to be successful in the attempted task, is likely to have influenced the responses he or she provided in the Emotional Intelligence Scale. A possible remedy for this, to countervail the effects of the performance at the audition, could be that the researcher could provide the participant with a time-gap of approximately half an hour, following which, the test could be administered, expect that consequently, the participant is less likely to be influenced by the audition-performance while responding to the given test.In conclusion, this study has successfully investigated the issue it primarily aimed to, and in violate of the potential challenges faced in the deduction of its findings, it has proved the hypothesis that there is a positive relationship between ones involvement in the theatre arts and their emotional intelligence. The findings of the study entail further research in the vast area of psychological health and the creative arts, of which the theatre arts are an integral part, especially in India, as the current study was conducted with an aim to bring about an awareness in the Indian society, of the great advantages of the theatre arts and its positive relationship with psychological well-being.