Psychopathology and Performers
Psychology 98TB Spring 2005
Wednesdays 9am-11:50am
Franz 1571
Course Syllabus
Instructor: Autumn Braddock, M.A.
Office Hours: Wednesdays 12-1pm or by appointment
Franz Hall A260A
E-mail: braddock@ucla.edu
Course Summary
What do Kevin Garnett, an amateur community theater actor, Joss Stone, and
your sister’s ballet instructor have in common? All are performers, albeit in different
domains and at varying levels. Yet, they share the common experience of doing their
craft not in isolation but typically in front of an audience. The intensity of stressors
associated with performing may vary across domain and level, but the basic experience
remains the same. These stressors can be overwhelming, with many successful
performers masking symptoms of psychopathology, whereas others terminate the
performance activity altogether in order to escape the pressure.
This seminar is designed to familiarize you with theory, research, and treatment
related to the study of psychopathology across varying types of performance domains
including sport, drama, dance, and music. Specifically, we will examine symptoms,
prevalence, etiology, and treatment of clinical issues affecting performers ranging from
amateur to elite. By integrating theory and research with clinical practice and real-life
examples, we will explore the connection between the worlds of clinical psychology and
sport psychology. The course is designed as an interactive seminar involving traditional
lectures, general discussions, student-led discussions, presentations, videos, and a final
research paper. The seminar is geared for highly motivated undergraduates with an
interest in exploring the research and applied intersection between clinical and
performance psychology.
Seminar Objectives
1) To understand the symptoms, prevalence, etiology, and treatment of basic clinical
disorders associated with performance domains.
2) To apply and adjust clinical psychology principles to performance issues.
3) To connect research with the treatment of psychological issues in various
performance domains.
4) To develop and expand critical reading skills through analysis of theoretical and
research articles in the area of psychology and performance.
5) To articulate insights through class discussions, presentations, and research
papers.
6) To further develop writing skills through article questions, a brief paper, and
research paper.
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Topic Overview
Week 1: Course introduction
What is psychopathology? Who are performers? Do performers experience
psychopathology?
Clinical psychology: The basics
Week 2: How to read a psychology paper
Week 3: Performance anxiety: Symptoms, prevalence, and theory
Week 4: Performance anxiety: Treatment
Week 5: Other anxiety disorders: Symptoms, prevalence, theory, and treatment
Self-medicating with alcohol
Week 6: Depression: Symptoms, prevalence, theory, and treatment
Week 7: Bipolar disorder: Symptoms, prevalence, theory
Week 8: Bipolar disorder: Treatment
Week 9: Eating disorders: Symptoms, prevalence, and theory
Week 10: Eating disorders: Treatment
Course wrap-up
Course Format
The seminar will involve active learning (e.g., evaluating studies, generating new
ideas, debating topics, discussing experiences, integrating course material). As a
member, you will be expected to participate in this process through class discussions and
presentations. You need to be prepared to discuss the assigned weekly core readings
during each class. The assigned readings are due for that class period.
Required Readings
A course reader containing articles and book chapters is required. Additional
readings will be handed out during the quarter. You can pick up the course reader in
from the Psychology Department Copy Center located on the A-level in Franz Hall in
room A219. Go to the A-level (basement) and walk west and you’ll run into it. Ask for
the reader for Psych 98TB. It costs $20. Please bring exact change or write a personal
check. In order to cut down on costs, the reader is unbound; if you need a binder, you
can purchase one from the Psychology Department Storeroom next door in room A225.
Recommended Readings
American Psychiatric Association (1994). Diagnostic and statistical manual of
mental disorders – 4th edition. Washington, D.C.
Evaluation
Active Participation
Article Questions
Performance Paper
Final Paper
15%
15%
30%
40%
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Active Participation (15%)
The seminar involves extensive class discussions and activities. You will be
graded on your quality of participation.
Article Questions (15%)
By 5pm the Tuesday night before each class period, you will post on the course
webpage a brief insight related to the assigned articles for the next day. Your comment
can include questions, thoughts, or even connections to your own experiences, but must
be related to the articles due for the upcoming class period. Your comment should be
short (i.e. no more than a brief paragraph, but longer than one sentence). These will be
used to generate discussion and ensure the assigned readings are completed. You will be
given either one point for generating a thoughtful and article-relevant insight or zero
points for not completing the assignment.
The course webpage can be found by going to www.my.UCLA.edu, logging in,
and clicking on the course. You will need a BOL account in order to login. The
webpage can also be accessed through the Psychology Department webpage at
www.psych.ucla.edu or at http://www.lsic.ucla.edu/classes/psych/index.html. The course
is listed as “Psych 98TB Scanlan.”
Performance Paper (30%)
You will attend a live performance of your choice and write a 2-page reaction
paper recounting your experience, as well as complete a 5-minute presentation in class.
Although you may attend a type of performance in which you are familiar, you are
encouraged to try a new domain. Please focus on one person during the performance,
even if the event involves a group. Example performances include, but are not limited to:
sporting events, theater productions, concerts, speakers, dance productions, television
tapings, and street performers. The instructor must approve your event during Week 2
where you will submit a short paragraph in writing describing the event and why you
would like to attend. The paper and presentation are due during Week 4. The objectives
of this exercise include the following:
1) To discover the commonalities and differences across performance domains in
terms of the demands placed on the performer.
2) To place yourself “in the shoes of the performer”.
3) To serve as a catalyst for ideas potentially affecting your final paper topic.
4) To apply course material to a real-world experience.
5) To allow you to serve as a performer during your class presentation.
Please choose to address at least one of the following issues (if you have another
idea, please consult with me first for review):
1) Instead of viewing the performer merely as an entertainer, try to picture him/her
as a person. Have you ever done this before? What personal issues could help
and/or hinder the performance? Could you imagine performing as he/she is?
Why or why not?
2) Who is the audience and what role are they playing in the performance? How
might their presence affect the performance? Would you still consider the event a
performance if the audience were not present?
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3) Does the performer appear anxious? How would performance anxiety or another
anxiety disorder affect the performance?
4) Would it be possible for this person to have a mental illness (e.g. bipolar disorder,
moderate to severe depression and/or anxiety, schizophrenia)? Why or why not?
Final Paper (40%)
Students will write a 15-page literature review on a topic of their choosing. The
paper should be related to the study of clinical psychology and performers. Students are
encouraged to write on a topic in which they are interested, but the topic should be
significantly different from those covered in class (i.e. you will need to conduct new
research searches and use different articles from those from the class although the general
topic may be similar). In addition to reviewing current research, future research
directions should be proposed. The instructor must approve your topic by Week 5 where
you will turn in a 1-paragraph description of your topic. These will be shared with the
class. A draft or outline may be submitted for non-graded review no later than Week 8.
Any later and it cannot be reviewed. The final draft is due in my office (Franz A260A)
by Friday, June 10th at 12pm. Please use my office hours or individual appointments if
you need any help – I am very available to help you.
Grading
The following is the percentage distribution used for grading.
A (90-100%)
B (80-89%)
C (70-79%)
D (60-69%)
F (<59%)
Contacting Me
The best way to get in touch with me is during class, office hours, or via email. I
encourage all of you to set up individual appointments with me or attend my office hour
so I can get to know you, answer any questions, and to go over your research paper.
Please contact me if you want to meet – I will gladly set aside the time. I check my email
daily and will get back to you within 48 hours during the week and 72 hours over the
weekend. The course webpage is a great way for you to stay in touch with your
classmates.
Policy on Late Assignments
For each day you turn in an assignment late (this includes the each day on the
weekend!), 15 points from your score will be automatically deducted from your grade on
the assignment. Thus, it serves you to turn in assignments on time!
Policy on Plagiarism
It is expected that all the work you turn in for this course will be your own.
Plagiarism will not be tolerated. If you are uncertain what constitutes plagiarism, please
see me.
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Course Outline
Week 1:
TOPICS:
Course introduction
Questions: What is psychopathology? Who are performers? Why study
psychopathology in performers? What’s the difference between
clinical psychologists, sport psychologists, and performance
enhancement consultants?
Clinical psychology: The basics
Week 2:
TOPICS:
How to read a psychology paper
Note: Abbreviated class will meet from 9-9:30am
READINGS:
1. Crawford, N. (2003). Raising the “barre”: A ballet dancer-turned-psychologist
helps performers reach career heights. Monitor on psychology, December,
56-57.
2. Hamilton, L.H. (1997). Focusing the spotlight on performance. In
L.H. Hamilton, The person behind the mask: a guide to
performing arts psychology (pp. 51-66). Ablex Publishing
Corporation: Greenwich, CT.
3. Hankes, D. (2005). Ten burning questions with Nicki Moore, Ph.D.
Association for the advancement of applied sport psychology, 20(1), 5-7.
4. Hays, K.F. (2000). Breaking out: Doing sport psychology with performing
artists. In M.B. Andersen (Ed.), Doing Sport Psychology (pp. 261-274).
Human Kinetics: Champaign, IL.
5. Kendall, P.C., & Hammen, C. (1998). Abnormal psychology: Understanding
human problems (pp. 3-16). Boston, MA: Houghton Mifflin.
DUE: Brief paragraph on your performance event and why you would like to
attend it.
Week 3:
TOPICS:
Performance anxiety: Symptoms, prevalence, and theory
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READINGS:
6. Silva, J.M. (1994). Sport performance phobias. International Journal
of Sport Psychology, 25, 100-118.
7. Steptoe, A. (2001). Negative emotions in music making: The problem
of performance anxiety. In P.N. Juslin & J.A. Sloboda (Eds.),
Music and emotion: Theory and research (pp. 291-307).
Oxford University Press: London, England.
8. Davey, M. Yips, the curse of golfers, are put to the test (pp. A1, A14).
New York Times, July 23, 2003.
Week 4:
TOPICS:
Performance anxiety: Treatment
Individual presentations and group discussion about performance events
READINGS:
9. Clark, D.B., & Agras, W.S. (1991). The assessment and treatment of
performance anxiety in musicians. American Journal of
Psychiatry, 148(5), p. 598-605.
10. Wesner, R.B., Noyes, Jr., R., Davis, T.L. (1990). The occurrence of
performance anxiety among musicians. Journal of Affective
Disorders, 18, 177-185.
11. Sport Reader I – Anxiety Disorders
VIDEO:
CBT Video for Panic Disorder – UCLA Anxiety Disorders Behavioral
Research Program (time permitting)
DUE:
Performance event paper due with a 5-minute presentation
Week 5:
TOPICS:
Other anxiety disorders in performers
Self-medicating with alcohol
How to write a psychology research paper: From outline to references
READINGS:
12. Balague, G. & Reardon, J.P. (1998). Case studies of a clinical nature.
In M.R. Thompson, R.A. Vernacchia, W.E. Moore (Eds.), Case
studies in applied sport psychology (pp. 234-242). Kendall/Hunt
Publishing Company: Dubuque, IA.
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13. Kendall, P.C., & Hammen, C. (1998). Abnormal psychology:
Understanding human problems (pp. 71-81). Boston, MA:
Houghton Mifflin
VIDEO:
Oprah Show (2002) “Living with Panic Disorder” with interviews of
performers (e.g. musicians)
DUE: Research paper topic due (write a short paragraph; see previous description)
Week 6:
TOPICS:
Depression in performers
READINGS:
14. Andersen, M.B. (2001). When to refer athletes for counseling or
psychotherapy. In J.M. Williams (Ed.), Applied sport psychology:
Personal growth to peak performance (pp. 401-415). Mayfield
Publishing Company: Mountain View, CA
15. Cogan, K. (2000). The sadness in sport: Working with a depressed
and suicidal athlete. In M.B. Andersen (Ed.), Doing Sport
Psychology (pp. 107-120). Human Kinetics: Champaign, IL
16. Sport Reader II - Depression
Week 7:
TOPICS:
Bipolar disorder in performers: Symptoms, prevalence, and theory
READINGS:
17. Burton, R.W. (2001). Mental illness in athletes. In D. Begel & R.W.
Burton, Sport Psychiatry (pp. 61-81). W.W. Norton & Company,
Inc.: New York
18. Piersall, J., & Hirshberg, A. (1955). Fear Strikes Out: The Jimmy
Piersall Story (pp. 118-187). Lincoln, NE: University of
Nebraska Press.
19. Sport Reader III – Bipolar Disorder
VIDEO:
Bipolar disorder and baseball: Fear Strikes Out: The Jimmy Piersall Story
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Week 8:
TOPICS:
Bipolar disorder in performers: Treatment
READINGS:
20. Jamison, K.R. (1995). An unquiet mind (pp. 163-219). Vintage
Books: New York.
DUE:
Last day to turn-in a draft and/or outline of the final paper for non-graded
review
Week 9:
TOPICS:
Eating disorders in performers: Symptoms, prevalence, and etiology
READINGS:
21. Burckles-Miller, M.E., & Black, D.R. (1991). College athletes and
eating disorders: A theoretical context. In D.R. Black (Ed.),
Eating disorders among athletes: Theory, issues, and research
(pp. 11-25). Reston, VA: AAHPERD.
22. Hamilton, L.H. (1997). Weight standards for the stage and screen. In
L.H. Hamilton, The person behind the mask: A guide to
performing arts psychology (pp. 19-37). Ablex Publishing
Corporation: Greenwich, CT.
23. Ryan, J. (2000). They stole her soul and still have it: Eating disorders.
In J. Ryan, Little Girls in Pretty Boxes: The making and breaking
of elite gymnasts and figure skaters (pp. 55-95). Warner Books:
New York.
Week 10:
TOPICS:
Eating disorders in performers: Treatment
READINGS:
24. Ohio State University Department of Athletics Eating Disorder Policy.
25. Petrie, T.A., & Sherman, R.T. (2000). Counseling athletes with eating
disorders: A case example. In M.B. Andersen (Ed.), Doing Sport
Psychology (pp. 121-138). Human Kinetics: Champaign, IL.
DUE: Final paper due on Friday June 10, 2005 by 12pm to my office, Franz A260A.
Have a great summer break!
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