Play-acted emotional expressions are a frequent aspect in our life, ranging from deception to theater, film, and radio drama, to emotion research. To date, however, it remained unclear whether play-acted emotions correspond to spontaneous emotion expressions. To test whether acting influences the vocal expression of emotion, we compared radio sequences of naturally occurring emotions to actors’ portrayals. It was hypothesized that play-acted expressions were performed in a more stereotyped and aroused fashion. Our results demonstrate that speech segments extracted from play-acted and authentic expressions differ in their voice quality. Additionally, the play-acted speech tokens revealed a more variable F0-contour. Despite these differences, the results did not support the hypothesis that the variation was due to changes in arousal. This analysis revealed that differences in perception of play-acted and authentic emotional stimuli reported previously cannot simply be attributed to differences in arousal, but by slight and implicitly perceptible differences in encoding.

Although the expression of emotions in humans is considered to be largely universal, cultural effects contribute to both emotion expression and recognition. To disentangle the interplay between these factors, play-acted and authentic (non-instructed) vocal expressions of emotions were used, on the assumption that cultural effects may contribute differentially to the recognition of staged and spontaneous emotions. Speech tokens depicting four emotions (anger, sadness, joy, fear) were obtained from German radio archives and re-enacted by professional actors, and presented to 120 participants from Germany, Romania, and Indonesia. Participants in all three countries were poor at distinguishing between play-acted and spontaneous emotional utterances (58.73% correct on average with only marginal cultural differences). Nevertheless, authenticity influenced emotion recognition: across cultures, anger was recognized more accurately when play-acted (z = 15.06, p < 0.001) and sadness when authentic (z = 6.63, p < 0.001), replicating previous findings from German populations. German subjects revealed a slight advantage in recognizing emotions, indicating a moderate in-group advantage. There was no difference between Romanian and Indonesian subjects in the overall emotion recognition. Differential cultural effects became particularly apparent in terms of differential biases in emotion attribution. While all participants labeled play-acted expressions as anger more frequently than expected, German participants exhibited a further bias toward choosing anger for spontaneous stimuli. In contrast to the German sample, Romanian and Indonesian participants were biased toward choosing sadness. These results support the view that emotion recognition rests on a complex interaction of human universals and cultural specificities. Whether and in which way the observed biases are linked to cultural differences in self-construal remains an issue for further investigation.

Both in the performative arts and in emotion research, professional actors are assumed to be capable of delivering emotions comparable to spontaneous emotional expressions. This study examines the effects of acting training on vocal emotion depiction and recognition. We predicted that professional actors express emotions in a more realistic fashion than non-professional actors. However, professional acting training may lead to a particular speech pattern; this might account for vocal expressions by actors that are less comparable to authentic samples than the ones by non-professional actors. We compared 80 emotional speech tokens from radio interviews with 80 re-enactments by professional and inexperienced actors, respectively. We analyzed recognition accuracies for emotion and authenticity ratings and compared the acoustic structure of the speech tokens. Both play-acted conditions yielded similar recognition accuracies and possessed more variable pitch contours than the spontaneous recordings. However, professional actors exhibited signs of different articulation patterns compared to non-trained speakers. Our results indicate that for emotion research, emotional expressions by professional actors are not better suited than those from non-actors.

The human voice provides a rich source of information about individual attributes such as body size, developmental stability and emotional state. Moreover, there is evidence that female voice characteristics change across the menstrual cycle. A previous study reported that women speak with higher fundamental frequency (F0) in the high-fertility compared to the low-fertility phase. To gain further insights into the mechanisms underlying this variation in perceived attractiveness and the relationship between vocal quality and the timing of ovulation, we combined hormone measurements and acoustic analyses, to characterize voice changes on a day-to-day basis throughout the menstrual cycle. Voice characteristics were measured from free speech as well as sustained vowels. In addition, we asked men to rate vocal attractiveness from selected samples. The free speech samples revealed marginally significant variation in F0 with an increase prior to and a distinct drop during ovulation. Overall variation throughout the cycle, however, precluded unequivocal identification of the period with the highest conception risk. The analysis of vowel samples revealed a significant increase in degree of unvoiceness and noise-to-harmonic ratio during menstruation, possibly related to an increase in tissue water content. Neither estrogen nor progestogen levels predicted the observed changes in acoustic characteristics. The perceptual experiments revealed a preference by males for voice samples recorded during the pre-ovulatory period compared to other periods in the cycle. While overall we confirm earlier findings in that women speak with a higher and more variable fundamental frequency just prior to ovulation, the present study highlights the importance of taking the full range of variation into account before drawing conclusions about the value of these cues for the detection of ovulation.