The author differentiates between surface acting and deep acting, referencing key figures like C. Wright Mills, Erving Goffman, and Constantin Stanislavski. Surface acting involves altering outward expressions—such as body language and facial gestures—without changing inner feelings, akin to Goffman’s observations of how people manage their external appearances, like controlled sighs or put-on sneers. Conversely, deep acting, as Stanislavski advocated, requires mentally and emotionally immersing oneself in a scenario to invoke genuine emotions. As an example, the text describes Stanislavski’s experience at a party, where he induced real fear in his expression by imagining a surgical operation.

Transitioning to professional settings, the author examines roles that demand emotional labor, arguing that while deep acting can create authentic interactions, it can also lead to estrangement when employers do not acknowledge the psychological costs. This separation between the self and the role can be especially troubling in environments where emotional labor is significant.

The author then explores the everyday use of deep acting, illustrating how people manage their emotions in various situations. She recounts a young man’s effort to conjure sorrow for a distant friend in a mental hospital by vividly imagining his friend’s plight.