Owning The Stage
11/24/11
Preamble
Last weekend was the closing weekend of the community
theater show here in my little burg north of Chicago. I know that for most of us, Community Theater
conjures images of Waiting For Guffman
– it’s something to be tolerated rather than enjoyed - probably because you
know someone in the cast and are obligated to go.
In this community, however, Community Theater isn’t
(generally) what you’d think. The town
and its neighbors are big art supporters who are sitting on highly taxed
properties. Meaning that the park
districts, which are by-and-large the producers of said community theater, can
afford to put on a pretty good show.
They also have a lot of talent to work with. Overwhelmingly college educated, there are
many residents who have professional-level jobs but have degrees and/or
experience in the performing arts. So,
while it ain’t the Guthrie, Community Theater around here is usually a pretty
enjoyable experience.
The question
K. So there I am
at the closing performance of our park districts spring musical. I have some students in the cast, and so of
course we’ll be talking about it in their lessons this week. And, being the teacher, I’d better have
something smart to say about it.
This particular show got me thinking about what makes one
actor riveting, the next compelling, the next merely pleasant, and the last,
well, pitiful.
For the sake of this reflection, I’ll be staying away
from “riveting” and “pitiful.” But I did
have a thought about the difference between “compelling” and “pleasant”. From this day forward I’ll be calling this
pearl of wisdom the Home Ownership Theory
of Performance.
The Home Ownership Theory of
Performance
Scenario #1: You in the House which is Not Yours
In this scenario, you are comfortable. You’re comfortable because the house belongs
to someone you love and trust. You don’t
have to notify anyone when you use the bathroom. You help yourself to a glass of water or
coffee it you want it. You know which
kitchen drawer is for silverware. You’re
clear on whether this is a “shoes” or “no shoes” home and you follow the rules
with familiarity.
Though this house is familiar and comfortable and
welcoming, though you feel quite at home to move about and help yourself and
speak your mind, you’re nonetheless aware that you’ll be leaving sooner or
later. You can’t really help the resident
child find her lost little-bitty-thingy, nor would you know where the Christmas
lights are stored, or be able to cook a meal without a lot of cupboard
exploration.
You
In This House is the actor who is “just fine” on
stage. The actor who “did a good job”
and who had fun in the doing. That actor
enjoyed the show and contributed to it.
The director appreciated that actor and the role he or she filled. That actor was familiar with the stage, but
didn’t own it.
Scenario #2: You in the House which
IS Yours
In this scenario, you’re the one paying the
mortgage/rent. This is where you
sleep. If you want to throw your stuff
on the floor or over the chair you can.
And you probably do. You know
where the medium-sized Philips head screwdriver is and which is the squeaky
step and how cold it has to be for the back door to stick. You own
this space.
I know you’re with me, here. You In This House is
the actor who is compelling to watch. He
or she owns that stage. That actor is
the one that would be cast in the role that requires transparency or intimacy, because
that actor could make those feelings or actions believable to the audience. This is the actor who later tells us that he
or she “got lost in the role”. They
barely knew we – the audience – were there.
No surprise that this also applies to any other performing
artist. The singer that you stop talking
to listen to is the one who doesn’t even need to consider the fact that she’s
the one leading the band – she just does it.
She owns that music. Or the
dancer you can’t peel your eyes from even though there are six other dancers on
stage with her. It’s all the same.
Of course this begs the question, “How do they do it”?
I don’t know the answer, but I think it’s fair to say
that unless it comes completely naturally to you, the first step is awareness.
Groove on,
Meredith
www.BestNorthShoreVoiceLessons.com
Groove on,
Meredith
www.BestNorthShoreVoiceLessons.com
Paul Simon in Milwaukee, 11/7/11 |