ACTOR ON A HOT TIN ROOF
by
ROBERT J. LEWIS
___________________________________
Being an
actor
is about changing who you are.
Will Smith
We are
fascinated by them, and based on the numbers (TV ratings, entertainment
shows, gossip columns and magazines), we simply can’t get
enough of them: the stars and starlets of the silver screen. How
is it that they are so able to occupy our thoughts and fantasies
and monopolize our conversational life? Does our abiding obsession
with people whom we have never met, will never know, make the
case that we are borderline batty going on unhinged? Or is our
fixation in fact not at all irrational, but a collective confession
that we are fascinated by power which predicts the behaviour described
above?
The first
myth to put to bed is that we are obsessed with the lives of the
great actors because they are celebrities, the beautiful people
who vicariously answer to our deepest longing for recognition,
identity and adulation. All of this of course is to a certain
extent true, but that is not the primary reason why we are consumed
by, envious of the life (both on and off screen) of the actor.
What draws us and keeps us locked in his orbit is his highly specialized
power which is the same in kind wielded by the super heroes that
we encounter in comic books, science fiction and mythology. What
separates the actor from his fictional counterpart is that in
the real world his power is observable and palpable. The same
skills he uses on the set are the same he seamlessly employs in
his daily life, which gives him an almost inhuman advantage when
it comes to procurement.
To better
understand what distinguishes the actor from the rest of us, we
must begin with what the great actors all have in common: an extraordinary
ability to deliver lines (penned by someone else) as if they are
the living issue of their own flesh and blood and real life experience.
In short, we don’t believe they are acting, so convincing
are they. The great actors, like elite athletes, are paid millions
and sometimes tens of millions of dollars -- such are their extraordinary
skills.
But they
are not supermen with super powers, just as we are not strangers
to their art. I am invited to a good friend’s house for
dinner to meet his new wife. She has prepared a dish that disappoints
and I try (projectile vomiting notwithstanding) to the best of
my ability to convince her that I have enjoyed her cooking. Her
happiness during the course of the meal and evening will be directly
proportional to my acting ability.
Over
the course of a lifetime we find ourselves in situations which
require performance, so that most of us become -- in varying degrees
– passably adept at pretending to feel something we don’t
feel at all. In our daily life, there isn’t one of us who
doesn’t wish that he could act better in order to partake
of -- with a nod to Freud’s pleasure principle –-
the just rewards. Life teaches us that the spoils of whatever
is at stake -- in romance, job interviews, commerce -- go to the
best actor.
What
separates our small and occasional acting success from the actor’s
is that he is able to deliver the goods on cue, every time and
in every situation, which makes his accomplishment central to
the awe, envy and bafflement aroused by his gifts.
How is
he able to convince himself and everyone else that he is feeling,
for example, a terrible loss, when in fact he does not, or that
he is amused by someone’s behaviour when in fact he is ashamed
of it. How does he execute this sleight of mind? How is he able
to overrule his true feelings?
As many
actors have acknowledged in interviews, the key to their success
is not to act, but to convince themselves into believing what
they are supposed to feel. In short, they are able to perform
a psyche job on themselves, that, combined with practice and natural
ability, kicks in on command.
The very
specialized expertise wielded by the actor enables him to supply
whatever is emotively required for any given situation. I am nervous,
apprehensive and perspiring profusely in respect to a particular
woman I am meeting for the first time, and am seriously considering
wearing rubber underwear for the occasion. In this same situation,
the skilled actor (think Leo DiCaprio) has already imagined and
rehearsed what the situation calls for: being calm, charming,
witty and confident. On command, which is the art and discipline
of self-command, the actor, in respect to everything except his
physical appearance, will be able to best answer what this woman
wants and expects, which is why he mostly gets whatever he wants
whenever he wants it.
And if
we are all-too-quick to diss the successful actor for being vain,
arrogant and of gargantuan appetite, we must concede that it would
be foolish of him to refuse or overrule his exceptional ability
since in each and every situation it works to his advantage. Acting,
as an adaptive trait, is doubtlessly favoured by natural selection,
just as envy is our confession that we want what someone already
has for which there is no cure other than getting it. The happy
person, therefore, is one who envies wisely (pragmatically).
What
intrigues us most of the actor’s power is that it serves
him equally on the set as in real life. It is an aptitude that
is not lost on the politician who is obliged to take positions
on any number of issues which he personally doesn’t subscribe
to. The campaign trail is study or exercise in stylized method
acting that every successful politician must master. President
Obama, who took Ronald Reagan’s acting prowess to another
level, states in Dreams From My Father that he considers
himself “a blank screen on which people of vastly different
political stripes project their own views.” So much for
vision and more prima facie evidence that one Edward
Gibbon fits all
It is
hardly a coincidence that the great actors give better interviews
than almost any other kind of entertainer. Good acting requires
both exceptional practical and psychological intelligence when
assuming the persona of a character for an acting role or real
life. The actor must step into a complex situation whose history
and emotional underpinnings have been long established. He has
to analyze and empathize quickly and convincingly, and make us
believe that he is personally familiar with the entire history
of the situation and the persons who have evolved it.
So who
is the actor, or what remains of him if he inventing himself in
perpetuity? What kind of self does he possess?
It would
be a mistake to conclude he has no self, or center, when in point
of fact he has only decided that his center doesn’t serve
him well. For practical reasons, he chooses not to be himself
since it doesn’t work to his advantage. His true or real
self comes out when he is alone and, over time, in his intimate
friendships and relationships. Actors learn to be wary of close
or long-term relationships because once the true self has been
outed, it cannot be put back in the box. Even flawless acting
cannot mend a deliberate hurt or insult because the aggrieved
knows the apology or stated regret is insincere. Like ours, their
marriages are not made in heaven. Acting is like a magic act;
it only works so long as you don’t suspect it or haven’t
figured it out.
Before
we accuse the actor of being inauthentic, we must bear in mind
that nature blesses adaptability. We would never label as inauthentic
a First Nations person who abandons his hunting and fishing way
of life in order to study computer science. For trading in his
feathers for Fortran, he might be called a traitor but never inauthentic
because his choice is so self-evidently beneficial.
Human
beings are uniquely malleable and existentially responsible for
the selves they choose to become. An insecure, complex ridden
actor who over time rejects his centre (his ‘real’
self) and refashions himself into his opposite and is rewarded
for his efforts cannot be accused of being inauthentic for his
remarkable adaptability, just as an evil person who becomes a
good person cannot be accused of being inauthentic for rejecting
his former self. Our real selves are constantly evolving to best
answer what a particular situation requires. “Man learns
when he disposes everything he does so that it answers to whatever
essentials are addressed to him at any given moment” writes
the philosopher Martin Heidegger. Like no one else, the actor
embodies this exceptional competence. Am I a hypocrite if I am
able to convince someone that I feel his or her pain if I really
don’t since I will be rewarded with this particular person’s
friendship and respect which I deem essential for my well being,
or, if I pretend to my boss that I enjoy my work when I really
don’t if the rewards impact positively on my sense of self-worth
and family life? Our true selves and centers are constantly in
flux, responding in kind to both the passage of time and personal
choice.
More
than anyone, the actor is exceptionally positioned to ask the
largest questions of authenticity because being himself and losing
himself occupy the same place in time, and trace the same gestures.
So when we taken an exceptional interest in the moments of an
actor's life both on and off screen, we have created an opportunity
to question our own authenticity, since our awe and envy identify
a lacking in oursevles from which -- by constitution or act of
will -- the actor is spared, which in turn enables him to accomplish
in minutes what might take us years.
Definition
of to act: to behave in a specified way or to take action.