You are what you wear

The Words of Wisdom this week are You are what you wear. Often when you are going to appear in a production you will be called for a costume fitting, so that you may be kitted out with whatever you are going to wear in the performance. This call serves a dual purpose. Firstly, obviously, to make sure that the clothes fit you properly. But secondly, so that you have the experience of what it feels like to wear the costume. Our clothes give out strong signals about ourselves and what we are like and conversely, when we are acting, they tell us a lot about the character that is wearing them. The fitting gives us an opportunity to feel how the clothes hang and how we move in them. Once you consign that knowledge to your sense memory, you can draw in it again in rehearsal, even though you may not then be wearing the costume. Imagine the effect of wearing a variety of different clothing: a military uniform, a crinoline, surgeons' scrubs, white tie and tails, a peasant's smock, a wetsuit, a tight corset, high heeled shoes. I once had to wear the vestments of a Roman Catholic priest. I felt quite sanctified! You are what you wear.

Make it easy on yourself

The Words of Wisdom this week are 'Make it easy on yourself.' This comes from when I was in my twenties. As some of you will know I am a mathematically minded person and in that time in my life I used to coach people for their Maths exams. I found that, with a piece of Mathematics, once people understand it, it seems easy to them, but, when they don't understand it, it seems impossible. There is no middle ground. My task as a teacher was to find a way they could make the jump from not understanding to understanding. And I found that the way to do this was to break the jump down to a series of steps, each of which was simple. It is possible to apply a similar method to anything that can be learned, even artistic subjects which are not as factual and logical as Mathematics. If you have a task or technique to learn, break it down into the smallest possible steps, so that each step is easy. This is how good teachers make difficult things seem simple. Make it easy on yourself.

The delight is in the detail

Here are the Words of Wisdom for this week. When we are in the audience we want to engage with the characters being portrayed and to feel the emotional tides as they wash to and fro. That is the big picture. But we also need all the little pictures, the accuracy and definition that make us believe that what we are seeing is authentic. That is important too. The delight is in the detail.

So we, in the audience, need to see characters that are individual and not stereotypical, that have a way of speaking and a way of walking and a way of doing everything that they do that is distinct and differentiated. So actors need to make every word and every action particular to the character, so that every line of the script reveais more about the character or advances the plot - or both. Let your performances hold up a mirror to nature and show the physical and mental landscape of every profession and type of person.

How to achieve this? Through observation and imagination. Never cease from observing people in their lives and, not to be forgotten, draw on elements you observe in other actors' work. And remember: the delight is in the detail.

Better to be typecast than not cast

These are the Words of Wisdom for this week: Better to be typecast than not cast. Typecasting is the phenomenon by which an actor becomes so identified with a role that it's difficult to be cast in different parts afterwards or, in weaker form, where they get stuck with playing similar characters over and over again. It operates more strongly on the screen than on the stage and goes right back to silent film days. Bela Lugosi played Count Dracula, once, and to this day that is all he is known for. He was never able to escape from that type of part in his subsequent career. Almost all actors are frustrated to some degree by typecasting. If they have any ambition at all they want to test themselves with a variety of parts, but the opportunities to do so are rare. Occasionally actors get cast against type, for artistic effect, (or maybe because someone has made a mistake.) Any chance like that needs to be seized upon but, it has to be said, the result can be embarrassing failure. Most actors most of the time will play parts determined by their appearance, persona and style of performance. Some people play comedy better than others, some grow up with the physical equipment to be a convincing thug, others are breathtakingly beautiful. As you seem to be, so you will have to play. Accept the inevitable. You will, at least to some extent, be typecast. Better to be typecast than not cast.

Push yourself but don't punish yourself

As most of you will know, I'm never far from a sporting analogy and the Words of Wisdom this week are one of my sayings about running: Push yourself but don't punish yourself. This comes from the principles of athletics training. If you put your body under stress, by repeatedly asking it to run further or faster than it's comfortably capable of, then your body will gradually adapt to cope with that stress and your performance will improve. To make this work you have to push (stress) yourself but if you punish (overstress) yourself you will likely get injured or at least have an unpleasant enough experience to put you off the spert for good.

Athletics is a measurable, physically demanding activity, but the same principles apply to acting, whcih is an immeasurable art or craft. To get better at it you have to practice and train yourself continually and persistently; if you don't your skills will go backwards. You have to set yourself tasks you find difficult; that's the only way you can improve. But at the same time you mustn't be overly self critical. Encourage yourself and congratulate yourself when something goes well. Otherwise you're teaching yourself that your art is painful and difficult, which it shouldn't be.

Push yourself but don't punish yourself.

Recognise that there are two kinds of luck

Now for some Words of Wisdom. Recognise that there are two kinds of luck. The acting profession is one where the statistical odds are stacked against you. Therefore, when auditioning or reading for a part, you are always likely to be disappointed. Sometimes the reasons will be quite arbitrary - too tall, too short, wrong age, wrong accent, the other one has ridden horses more, worked with a big name director, was in the play we did last year. The point is that none of these reasons are the actor's fault. Maybe they saw six people who might have been possible for the part, but the director just had a gut feeling, so the other five have to be disappointed. You will probably never find out the reason why you didn't get the part but it's no use getting angry with yourself or anyone else. You just have to put it down to bad luck. The fates just didn't smile on you that day. Go on doing your best.

But there is also another kind of luck - good luck. This is when an opportunity falls into your lap and you get exactly what you've been working towards. The important thing is to recognise good luck when it arrives. Sometimes it wears a disguise or comes from an unexpected direction. Now that you have a lucky break for goodness sake don't mess things up. Don't turn up late. Don't be too desperate or too nonchalant. Don't fail to learn the lines. Check out the route to wherever you're going. Just be professional in every way, recognise you've had a stroke of good luck and capitalise on it. Recognise that there are two kinds of luck.

And that doesn't just apply to acting. It applies to everything.

Let the camera and the music do their work

Next time you’re watching a film, notice how many of the shots are reaction shots where all we see is a character’s face, showing very little overt emotion, and maybe we hear some music as well. What is required of an actor for a shot like this is to trust the direction, the camera, the editing and the music to do most of the work. The danger is to do more than is necessary and therefore to appear unnatural. Remember, less is more. Just produce the inner emotion but don’t over-express it: if it’s there the camera will find it. And trust the editing: in cinema context rules. For example: the character smiles, but is he looking at a beautiful girl or a plate loaded with pasta? The smile may be the same, but the first shows lust, the second gluttony.
All of this requires a lot of confidence, the confidence to do very little or nothing. All the movie greats have that confidence. So the Words of Wisdom are Let the camera and the music do their work.