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This is a particularly important contextualization for thinking about what is and is not \u201cacting\u201d as defined by its physiological and psychological components."},{"key":"10.1016\/j.copsyc.2026.102408_bib72","unstructured":"This book discusses the discovery, use, and development of the Acting Habits of Mind, how they work in real theater classrooms and how they are tied to a variety of psychological skills and constructs in adolescence and across the lifespan. This work expands on all the concepts discussed in the current paper."},{"key":"10.1016\/j.copsyc.2026.102408_bib73","unstructured":"This recently published qualitative inquiry into the similarities and differences between the performance preparation processes for Opera and Musical Theatre actors shows that actors across both genres spontaneously talk about most of the Acting Habits of Mind in their preparation process, as well as think deeply about the separation between themselves and their characters. One of the few studies of professional performers of this type."},{"key":"10.1016\/j.copsyc.2026.102408_bib74","unstructured":"In a series of 3 studies, the authors look at how actors' intuition can be thought of as an embodied process, specifically thinking about absorption at the trait level and exteroceptive awareness abilities. The results suggest that these skills are trainable, and can be developed with specific teaching methods that train attention and awareness."},{"key":"10.1016\/j.copsyc.2026.102408_bib75","unstructured":"This paper describes a dataset where neurological data were collected from actors, a director, and audience members while in rehearsal and performance. 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