|
Welcome to Michael’s ‘Intimate With Strangers’ Page 3
WHAT IS STYLE?
Style is the dirtiest word in the actor’s vocabulary. It belongs to critics, essayists and historians, and fits nowhere into a creative process. It is serviceable for catalogues and reference books. But in the act of creation, whether it be a baby or a role in a play, you cannot predetermine style (shape, sound or form).
The many reasons behind most actors’ misunderstandings and inaccurate concern with style have made for a chain reaction of centuries of bad acting and empty, tedious, or just plain noisy theater. One reason is the actor’s mistrust in his own instrument or ability to bring his own being into full play. Or he has an academic education which he is misusing. Or he has no education and is self-consciously employing empty formulas. A deep-rooted reason springs from the stylized productions we were taken to as children, which conditioned us to acept the “manner” of performing certain plays. For some of us, the conditioning is so strong that as we grow up, we neither question nor challenge these stenciled preconceptions so that we actually come to believe that predetermined styles for presentation are a necessary part-and-parcel of the play.
Remember that all of the labels you are familiar with (realistic, surrealistic, romantic, satirical, farcical, tragicomic, naturalistic, classical, neo-classical, avant-garde, theater of the absurd, theater of cruelty, etc.) were stuck onto a piece of work after it came into existence and not before. The beat and sound of “rock and roll” was made before someone named it. Works are categorized by observers, audiences and critics, but not the creators. Any concern you have for the “style” will immediately place you on the wrong side of the footlights.
|