Psychological Observations of SLT's Impact on Spectators & Actors - Open Minds Project, Teatrul Senzorial, Timisoara, 2021

Sensory Labyrinth Theatre

The psychological characteristics observed on actors & spectators as result of participating in the activities of the project “Open Minds” 2021

Banjak Bachir, Carla Podaru, Jessica Lossza 2022, West University of Timișoara

What does the literature say?

Currently there are only a few articles focusing on the relationship between theater (especially in the area of ​​immersive theater) and the psychological impact which is felt. Most studies are of a qualitative type (interviews, diaries - everything related to the area of ​​personal reflection, not scales/questionnaires). The effects observed in previous studies focus on the feeling of belonging to a group, creating a favorable space for the emergence of catharsis, increasing the attention and shifting the focus from the individual to the community (mainly for actors/constructors), and for spectators the effects observer for participating in theatrical events (mainly immersive )are related to increasing community bonds, helping people be more in touch with themselves and their emotions, guiding them to being anchored more in the present. Most studies focus on the area of ​​well-being and mindfulness (with promising results) and point out the similarity between mindfulness and sensory theater (because they train very similar processes, even if the process itself is more dynamic, it invites the person to a process of reflection, to connecting with the present moment, with the emotions and sensations of the here and now).

What did we research?

QUANTITATIVE

Within the project, 2 studies were carried out. One of the studies wanted to investigate the potential psychological effects that participation as a spectator in a sensory theater performance can have. The other study tested the effect of a personal development program on volunteers involved in sensory theater performances, this program consisting of an introductory workshop, an in-depth workshop and a series of performances over 3 weekends, each volunteer having the opportunity to act in at least one show.

Spectators:

• Out of a total of 223 spectators (ages 15-70), only 97 completed the related questionnaires (before and after the show)

• The questionnaires observed the level of the person's internal dialogue (concept that explains the person's process of self-reflection - people with a high internal dialogue will be people who engage in self-reflection processes more) and mindfulness (measures the processes involved in mindfulness - observation, description, conscious action, non-judgemental view, acting from non-reaction).

Builders:

• 22 participants (ages 19-43)

• Questionnaires were completed before and after each day of performance

• The questionnaires observed the level of each participant’s feeling of concern, mindfulness (the same as with the spectators), emotional self-regulation (the person's ability to regulate themselves emotionally - with subscales aiming at the acceptance of negative emotions, the ability to orientate towards productive behaviors in aversive situations, controlling impulsive behaviours, emotional clarity), the type of control perceived by the individual in front of the various situations that can affect his life (internal control - attributes what happens to internal causes, which are related to him or external control - attributes the causes to external sources), well-being (with subscales aimed at autonomy, personal development, positive relationships with others, purpose in life and self-acceptance), internal dialogue (same as with spectators)

Results:

• For the quantitative part, there were no statistically significant results - the explanations would be primarily a small number of participants (extremely small in the case of constructors) with a very high heterogeneity (diverse group), the use of constructs that remain rather stable in time and require more effort to change them (an hour's exposure to a show may not have been enough to change the individual's degree of reflection - especially given that he filled in immediately afterwards, leaving no room for the experience to settle in and integrate)

• Most of the experimental studies that combine the theatrical area are based on qualitative data - hence the difficulty of finding measurable constructs in the given context, being a performative act it is difficult to control all the variables that can intervene, plus the individual experience of each person (each spectator will perceive and integrate the experience differently depending on the personal and emotional baggage he has at the time)

QUALITATIVE

Spectators were able to write down some personal reflections after the show by following some supporting questions (how do they feel now, what was the most impactful moment experienced in the labyrinth, the artistic expression of the present state through drawing, what is it that remains with them after the labyrinth).

Following the analysis of the text, the main motifs distinguished are the feeling of freedom, tranquility and relaxation. In addition to the main topics, a good part of the spectators wrote about an increase in self-acceptance, self-confidence, release of negative emotions, heightened state of presence, clarity in thoughts and emotions, increasing the level of curiosity and love. Most of the viewers were able to access impactful memories within the labyrinth, which made them access cathartic experiences, meanwhile they perceived the journey through the labyrinth as a process with an heightened degree of intimacy, in which they felt secured and safe by the presence and support of the builders in the end left the show with a powerful desire to continue going down the path of knowing oneself better.

“Open Minds” was an artistic & cultural project involving the production and performance of the Sensory Labyrinth theater show “Metamorphosis”, coordinated by Sebastian Dobrescu and the Teatrul Experimental Senzorial Association from Timisoara, Romania. The project involved practices of artistic participation and co-creation processes in which the local community was involved as volunteer actors in the performance of 12 SLT shows.

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