11 Part Two: Theatrical Production, Chapter 2 “Acting” & Chapter 3 “Directing” (7/4) -- Theater Appreciation

11 Part Two: Theatrical Production, Chapter 2 “Acting” & Chapter 3 “Directing” This content can be found in its entirety with images by clicking here for the pdf. Part Two Theatrical Production One of the first images that spring forth when people think of actors is glamorous red carpet award shows filled with pampered stars whose pictures fill supermarket checkout magazines. Many assume a glamorous life of public attention, steady work, and colossal paychecks. But the reality of the average actor’s life is starkly different, especially in the world of live theatre. There are extremely few overnight successes. Most actors toil for years before getting any high-profile acting jobs. Auditioning more than they work, they can face constant rejection from casting agents, directors, and producers. Most have studied for a long time to hone their skills, and even after establishing themselves, many continue to take classes or meet with coaches to keep their instincts sharp. Since lucrative acting jobs are hard to find and usually offer no permanent financial security, most actors have to support themselves through other work. This is where the cliché of the “actor/waiter” originates; it is one of the few jobs where you can alter your hours to attend auditions. So why become an actor when most other occupations offer more stable living conditions? Most will tell you no other medium offers the same rush of emotion and immediate connection with the audience. Simply put, they would not be happy doing anything else. Even those who have enjoyed success in film and television often return to the stage to practice their first love. Braving audiences and critics in professional theatre still remains the ultimate test of an actor’s ability and courage. The 2003 production of The Pillowman (featuring Adam Godley and David Tennant). Intensely emotional scenes like this one must be duplicated by actors night after night. Photo © Robbie Jack/Corbis. A Brief History of Acting TheoryBefore we delve into the particulars of how an actor approaches a role, reflect on this question: is the actor a craftsman or an artist? You could consider them craftsmen in the sense that they use a set of skills to build a character onstage; they do it by interpreting the lines set forth by the playwright in a manner that will ring truthfully to an audience. Although many of us might have little to say in matters of art, we are all critics of human behavior—we all know emotional truth when presented to us. At the same time, you could call the actor an artist because he applies creativity and imagination to this interpretation, transcending the words on the page to create something highly individual. Ultimately, no two actors can play a character exactly the same way. No matter how you label it, acting is a paradoxical activity. Actors must explore the emotional world of the character, but at the same time they must meet a set of technical demands such as articulating and projecting their w