Victor D'Altorio
Acting and communications coach

Piercing the Surface with Glee: The Role of the Artist in Polite Society.

March 8, 2009 15:40 by Victor

I’ve never understood TMI.  How could there possibly be Too Much Information about anything?  (If the subject is dull, then it would be TMBI: Too Much Boring Information, and that makes sense to me.) But people who exclaim TMI! are usually expressing embarrassment and discomfort. I love feeling embarrassed and uncomfortable.  Especially when those feelings result from detailed intimacies.  One thing I KNOW is true about the TRUTH—it’s always SO MUCH MORE INTERESTING than the pretense that covers it up. Truth has a deep, expansive root system anchored to EXPERIENCE while pretense (or THE LIE) is just kind of propped up on its stumpy little end and can topple over quite easily.

 

American history (I’ll leave the rest of the world for somebody else to bitch about) is jam-packed with stories of folks who grew up believing that an aunt or a grandmother or a sister was actually their mother.  It’s full of stories about parents, siblings, neighbors, priests, who molested and abused children and then, on the surface, behaved as if everything was just fine. (The pope knew children were being abused by American priests, and that it was widespread.  He admitted that publicly.  But to bring it up in our American dialogue?  It’s considered a FAR-left-wing OPINION, though it’s a FACT, and facts are now facing extinction.) We all see long marriages where the behavior clearly reveals contempt or disinterest just beneath the surface.  My mom used to say “There are none so blind as those who will not see” but it took me a few years before I got that she was quoting.

 

Why do we cling to THE SURFACE?  What is it about the surface that fascinates and seduces us into staying there?  Why don’t our instincts lead us TO WANT TO KNOW the truth of our lives and of those we love?  To strap on a pair of goggles and dive down as deep as we can with our lungs full of fresh, myth-busting air?  Be patient with me if you can (if not, bail now), I’m just following a thread that’s really tugged hard in me as far back as I can remember. 

 

Of course my homosexuality created my intolerance for self-deceit, as I hated being in the closet. At age five I was very excited indeed by some shirtless actors bathing in a river on Wagon Train, a TV western my dad and I watched together circa 1962.  I knew on instinct to keep my kindergarten-sized arousal a secret.  In high school, I was beating off like a madman to pictures of Mark Spitz in Life Magazine in his tiny (for the 70’s) swimsuit, and then taking Patty Plude out for a date later that night.  She never even seemed to wonder why I didn’t ever try to kiss her. 

 

Sometime later I started fucking a new girl in my parent’s car, (she seduced me pretty aggressively for a 17-year old female virgin in 1973; she must have had the POV I was hot in my closeted clueless way) and she quickly became a slave to the thick eight and one half inches I was lucky enough to inherit from my Italian Papa Vittorio and never had a clue until 10 years later when I came out in NYC that it was a gift from heaven in a gay community of men for god sake!  I started developing a frame of reference.  (Women, I know you are all too aware of how cruel men can be if you don’t have the right sized, or right-shaped body part of their choosing.  It has nothing to do with being gay. Let me know you hear it girls!)  Anyway, my first-place finish in the penis-sweepstakes was an amazing karmic gift I somehow managed to receive as compensation for the truly rotten disadvantage of growing up gay in America.

 

(By the way, this is not anything close to the “stunning revelation” I promised I would share at some point.  This is just a little inappropriate tidbit of fleshy truth designed to delight or disgust you, depending on your inclination).  I came to understand in my gut that Sue Naked In Person would never have the zinging knockout punch of even a photo of JFK Jr.  The deception I perpetrated on everyone (everyone who was flat-out blind anyway) was reflex.  I was partly honest with only myself, rationalizing that I was just in my “homosexual phase” which was (and may still be) a popular, soul-crushingly destructive American myth for young kids who are gay, perpetrated by heterosexual adults who don’t want to face up to the truth about their adolescent kids’ obvious homo tendencies.  (“It’s just a phase, all boys go through it—it’ll pass!”) I couldn’t face the feelings that a look at the truth would bring to the surface, so I continued on my path of self-imposed incarceration and torture, involving a few more terrific, smart, sexy women.  The ladies loved me.

 

At 26, living in NYC, I reasoned that “the phase” had gone on long enough, and that sucking cock might be more fun than pretending not to want to, so I came out, fell in love with a sweetheart named Kevin, and started becoming really curious about why my acting sucked so bad.  (Could it have had something to do with the fact that I had been repressing my very LIFE FORCE? I was the star of anything I wanted to be at NU, and had had lots of parts in NYC in my early 20s, (in small venues of course) and my acting was false and utterly self-conscious.  I had very little impulse to be in denial about this.  Instead, I was eager to fix it.

 

But back to The Surface and it’s properties.  Here’s what I found in the online thesaurus: 

 Surface: The extended two-dimensional outer boundary of a three-dimensional object.  A superficial aspect as opposed to the real nature of something; "It was not what it appeared to be on the surface."  Information that has become public; "All the reports were out in the open, the facts had been brought to the surface." 

So the immutable properties of The Surface are inextricably linked with deception and secrecy.  Interesting.  I’ve never liked mystery novels, but isn’t the kick for readers who love them that at the end the truth is finally revealed?  Will we allow ourselves only to get down to the bottom of the well and feel what IS as we approach death? Whether we want to or not?  Will the truth come bursting through the surface for all of us like it did when the Alien burst through the thin flesh wall of John Hurt’s heaving stomach?  I keep coming back to Act III of Our Town, which is still the best-ever American play. 

If you’re an artist, cultivate your impatience with The Surface.  (If you don't, your punishment will be built-in: you'll languish there forever.) If you feel timid about looking below, don’t ponder your fear too long, just take a deep breath and then seize any handy sharp object of your choosing and slash that thin (or stubbornly thick) membrane of surface nonsense.  Puncture it, tear it open, tear it off.  Good stuff awaits you underneath.  “Good” meaning real, honest, scary, adrenaline-pumping, uncontrolled, unrehearsed, authentic stuff.  Go for it.  (Or consider accounting.  Trust me, the world does not need timid artists.)  

Life is NOT too short, as we always hear, it’s too much lived on the surface for too long. 


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March 9. 2009 07:07

Patrice

How long we have to WAIT for this "stunning personal revelation", Vittorio mio?? You TEASE!!!!

Patrice

March 9. 2009 11:40

Lisa

I have fought with this train of thought for years. In life outside the stage, allowing yourself to exist beneath the surface habitually leaves you immeasurably vulnerable- particularly if you are intensely sensitive as so many good artists are. There are sometimes very good reasons for secrets and deception. I agree that behaving on the surface can become habitual to the point of one forgetting or being insensitive to their true nature, but I'm not sure that one must necessarily be RAW 100% of their life in order to be a quality performer. We have a choice about what we allow others to "see","hear", or "experience" of us. Obviously, when on stage or performing, it is the responsibility of the performer to be reacting from a "true" place. (Though Chekov tends to display the truth beneath the surface so in essence you are "speaking" the surface but "being" the truth.) However, if you are in touch with your feelings and tendencies, I'm not sure that it's necessary for people to go out "being" all the time. You can be well aware of your feelings under the surface and experience them in the context of the pretense of the drama. You can find "safety" in the pretense. You can scream and yell or cry or whatever, without being afraid to lose your day job or lose the relationship with your parents or husbands or best friends. Because let's face it. The rest of the world are not actors. They don't feel this way about being and "being" all the time can be destructive and detrimental in real life. We have choices about which real impulses we follow in life. There is more than one path we can follow. There is more than one way we can choose to react. Sometimes our "reality" is "beneath the surface." And sometimes there are very good reason for that. Eating is good and so is having a roof over your head. That may be one of the glories of theatre- to have a place where the actor (and the audience)can explore all those realities without actually having to live them.

It seems the important thing is not to deny anything. That we be compassionate with and sensitive to our own natures. That we recognize that action must not necessarily follow every emotion in the context of real life. Or perhaps that sometimes action as simple as "breathing" can be the best choice.

On stage/screen, many times, we are asked to go through the most intensely intimate moments of our lives... This intensity makes it interesting for the audience as we are not always privy to people's most intimate moments. An audience learns from watching this. However, if we were to go through life living every moment with this intensity, it seems very negative things(and maybe some positive things too) would happen to us... (maybe we would be lonely because people would not want to be around that intensity, we could shut down or go nuts from the bombardment of insensitivity, we could essentially not be able to function) In rebuttal to my own argument, it's possible, that you could become stronger and desensitized to things that affect the average person. Making you more unconscious perhaps...

I do think that life is more interesting when you live the truth. So many fun and exciting things happen. However, the choice we've made to be artists is hard enough in our culture. Must we make it harder by requiring truth in all moments, onstage and off? As a teacher, it would seem you might give students this as an option rather than an ultimatum such as "If you are not true in life, you will not be true in art." Isn't that the glory of Meisner's work? He's given us a tool to un-do what life has made habitual. Taking away the habit is good, making life the stage may not be necessary and may even be harmful.

Victor- I love what you write. It's thoughtful and thought provoking... In favor of honest living, I'd love a good argument!!!

Lisa

March 10. 2009 05:00

Bill

Vic,

This is so funny, but I do think it's interesting what you say about the surface that we mostly live in minute to minute. The trick in acting is the balancing act between showing what is really going on underneath and the mask that we wear to protect ourselves. Without the mask, it looks like a lunatic, with a mask that is too effective, the audience doesn't care. Isn't our job to keep the juggling act up as effectively as possible, i.e. the saying "trying not to cry is more compelling than actual tears?"

Bill

March 10. 2009 08:15

Victor

Reply to Lisa Kuhnen and Bill Zasadil:

Lisa: thank you SO much for being the 1st person to post a substantive reply to my blog!
I'm thrilled that you're enjoying it. Now, I won’t say I think you misunderstood me because I don’t think you did, but maybe I haven’t been clear enough, since I think you are focusing on as aspect of what I’m saying that is, in some ways, not the point I'm trying to emphasize. I’m not really talking about BEHAVIOR you choose in your life, I’m talking about listening and seeing. I’m not suggesting that if the girl checking your groceries in the supermarket line is pissing you off that you should respond honestly and start screaming at her, which kind of seems to me what you are saying is NOT a good idea, as if I had suggested you should do that. I completely agree, that is not a good thing to do. I’m saying (in that example), if you pretend to yourself that she isn’t pissing you off, and swallow that anger before you understand where it’s coming from, (how she behaved, what other issues are involved, etc) that that kind of repression of anger (or anything else—sadness, lust etc) becomes a pattern with strangers as well as those with whom you have intimate relationships, and that it’s deadly for your artistic self, regardless of how you choose to behave in the moment.

Bill: Not exactly sure what you mean. I think the trick for us as actors is to understand ourselves as fully as we can and to exercise our ability to listen, see and express IN OUR LIVES so that whatever masks we habitually wear in life will fall away when we are acting without having to waste rehearsal time trying to pry them off.

Victor

March 10. 2009 11:27

Lisa

So then the script chooses the behaivor for you given that you are listening and seeing honestly?

Also, Bill, I love your choice of words (effective and lunatic!) Great!

Lisa

March 10. 2009 13:12

Victor

Exactly Lisa, I couldn't have summed my view up better in one sentence. So if you are "living" in the imaginary circumstance, (if that goal has been met) then the question becomes--how FULLY are you living in it, and that gets to my main point--you can't live more fully onstage or screen than you do in your own life. There may be things you don't choose to act out in your own life, but a pattern of suppression will ultimatelty slow down and flatten out the instrument: you, the actor.

Victor

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