Tomorrow at 7:30 pm is the big show. "Big show" is entirely relative, of course, but it certainly seems to apply when you're directly involved. In the last few days I have begun to realize that it is probably the biggest part I've ever had in my dozens of plays; I've had a "lead" here and there, but never a role in which I've been onstage for an hour and a half in a play with a cast of two.
It's great fun. As I mentioned in a post a week or so ago, I could be considered to be a bit outside my comfort zone. To me, comedy acting has always seemed a pretty simple process of bringing an audience along by dropping in cultural signposts. Except in its most sophisticated form, I don't think comedy acting requires an audience to suspect their belief and "believe" in much of anything. Sure, they buy in to the theatre concept, but they're generally just happy enjoying one moment of mirth and preparing for the next. If, at the end of the night, something more powerful or transformative has occurred, so much the better. Provided the concept and writing is solid, and provided the actor has been born with a sense of comedy timing, the actual execution is relatively easy. Relatively. It still takes concentration and it still takes energy, but I'm talking relative to
dramatic acting.
Of course, this is just all from my perspective, but dramatic acting requires so much of you. It was suggested last night after our dress rehearsal that I was, perhaps, a "method actor," which (to grossly oversimplify) is someone who subscribes to that philosophy of "becoming the character." I think I must be, because frankly, I don't see any other way to go about it. In fact, it seems only fair, in light of the fact that if you're acting in a dramatic role, you're more or less asking your audience to be "method." You want
them to suspend belief, to believe for a few hours that you are someone other than yourself. And I think the concentration level of the audience is so much higher during a dramatic performance. They're not just watching for those signposts. They're trying to relate. Not in the overall situation facing the character(s), but in how the characters relate to what's going on around them. Not everyone can act, but everyone knows what real people act like, and they can smell someone being "out of character" from a mile away. And so, as a method actor you "become" your character. It's not just delivery of lines. It's how you hold your hands, how you breathe when frustrated, the direction your eyes wander when you're lost in thought, how tightly or loosely you clench your jaw. And it's not a simple, one-time transformation. Putting aside how
you react to the world around you and all your own thoughts and concerns, you must grow; line by line and scene by scene, as your character grows. It's not a single thread, but a stem that continually branches out, with every new scene and line carrying the weight and influence of all that has come before.
Of course, in spite of this entire transformation, you need to remain somehow aware that there is an audience that needs to be able to see you, hear you, and understand your enunciation. There's no break (well, intermission, if there is one). You're "on" for an hour and a half (in tomorrow night's case). It takes an enormous amount of concentration and energy. And it takes a hell of a lot out of you. Out of me, at least. Maybe there's natural "dramatic actors" to whom this comes easily. They pain & strain over comedy and I'm fighting against the current in their world.
Anyway, that's all for now. More to report after the show, I'm sure.