To bring a human being from the page to the stage truthfully, actors must imagine “as if” they had the thoughts and feelings of their character. It is their literal job to embody someone with a whole other lived experience. So, across the country, in drama schools, in rehearsal rooms, and on sets, actors are practicing perspective-taking. In order to do this, they must empathize with their characters, develop backstories, and uncover their motivations. Much of this work involves becoming emotionally flexible and stretching the range of their feelings.

When social and emotional learning (SEL) emerged as a necessary facet of education, one that research showed improved school functioning and academic performance, I knew that the actor’s training could be of service. An essential tool for self-regulation is understanding the fluidity and variety of emotions and how to recognize when they are not productive. In their book Your Brain on Art, authors Susan Magsamen and Ivy Ross write, “Mental wholeness is having the capacity and resourcefulness to navigate the daily fluctuations of your life, even when you are feeling difficult emotions.”