It is said that after one of Fred Astaire's first screen tests the director noted, "Can't sing. Can't act. Can dance a little." Boy, was that wrong.
It is a common stigma, however, that dancers "can't act." We are taught from our very first ballet class to watch our alignment, straighten our posture, and improve our turnout. The only thing we're really supposed to emote (or at least try to emote) during tendus at the barre is a sense of calm confidence. So maybe acting isn't a real part of dancing then, right? Wrong! Just take a look at what some notable industry professionals have to say:
"...commitment from the dancer means communication to the audience. This is true for both the actor and the dancer, because dance is acting and acting is dance. The principles of storytelling are the same." - Tony Testa (Los Angeles; 'The Cheetah Girls,' 'Wizards of Waverly Place,' 'Dance on Sunset,' a music video for Miranda Cosgrove, halftime shows for slamball on ABC, commercials for Skechers and Versace, shows for Janet Jackson, Britney Spears, and Danity Kane)
"The most important acting skill a dancer can have in my work is the ability to get really honest-to be able to relate to the work personally." - Jack Ferver (New York; Dance Theater Workshop, Danspace Project, the New Museum, Théâtre de Vanves (Paris), an upcoming piece for Performance Space 12)
"I like dancers who put themselves out there on the line without the fear of embarrassment. Dancers are constantly seeing themselves as they dance. My advice is to get past that voice in your head, the one saying how you "should be." Instead, like the good actor, find that quiet, open space that lets you be whatever you want to be-or whatever I ask you to be." - Mark Swanhart (Los Angeles; 'Viva Elvis' for Cirque du Soleil (Las Vegas), Celine Dion's 'Taking Chances' tour, 'So You Think You Can Dance,' a film of 'La Bohème,' the 2003 Tony Awards)
"If you don't think of "acting" per se, but rather use your imagination to infuse your movement with clear intention, strong imagery, discovery, subtext, and self-knowledge, you will be more likely to enter that magical zone of "being in the moment." - Dance Magazine, "Going Inside the Role"
"Today's world of musical theater demands dancers to have acting and singing skills. In musical theater there is always a story to tell and a plot to further- no one is ever just dancing steps. Dancers need to be comfortable using their voices and having the confidence to speak on stage. Broadway shows are full of "one liners," which are typically assigned to the chorus. If a dancer is asked to read sides during an audition, he or she must make a strong choice and read with authority; there is no time to be embarrassed about how you sound or how you "act". This is why a basic knowledge of acting is essential to dancers hoping to break into musical theater and Broadway. In terms of casting, the more skills you have the more valuable you are. This is why the cliché "triple threat" exists; if you can do it all, you are a threat to those who cannot. For example, directors always need understudies, a job which typically goes to a member of the chorus. A dancer who can potentially understudy a lead role is more likely to book the job over one who cannot. Just as in life, being a well-rounded individual adds dimension to a dancer's talent and creates more opportunity." - Kiira Schmidt (New York; "Follies," "White Christmas," "Stairway to Paradise," "Mame;" assistant to Josh Bergasse for NBC's "SMASH")
"Agreed!" remarks Bronwen Carson, a Director-Choreographer recently added to the faculty at Broadway Dance Center. Carson teaches "Acting for Dancers" (Tuesdays and Thursdays at 10:30am-12pm) as well as a required acting course in BDC's Professional Semester, a pre-professional training program. She describes, "Dancers inherently have tools at their disposal to become powerful storytellers, but are rarely shown how to translate the precise control they have over their bodies into truthful, nuanced character portrayals. Often a dancer can come across as too graceful, too at ease in their bodies to accurately portray a non-dance trained person. These dancer attributes (i.e. "ease", "turnout", "posture, flexibility...etc.) must be addressed when training dancers to act if they wish to play a role in a film or play other than the "dancer" character in the story."
BWW: Tell us a little bit about yourself and how you came to be a performer.
BC: I started out as a classical dancer, but even then my training was unorthodox. My teachers, Paul E. Curtis and Shawn Stuart focused a great deal upon the storytelling aspect to the classical dance movements and upon a profound connection to the music as a script. I joined The Cleveland Ballet at 17, ready for a lifetime in classical dance, then very shortly after sustained an injury that ended my ballet career. I turned to acting to relieve the ensuing existential crisis and heartbreak. It turned out I'd been acting all along, just in a non-verbal realm. I, once again, ended up with astounding teachers (Mark Jacobs, Terry Schreiber) with whom to train. I learned how to translate my gestures as a dancer into vocal and character nuance. It took many years and I had to build the bridge brick by brick. I went on to act in some films ("Dance With Me," "Center Stage," "Keeping the Faith," "The Ballad of Mary Jo," "The Winter of Her"), some theatre (including The Music Man, Equity Ginny Award for Zaneeta Shinn) but I missed the dance world a great deal. I realized what I really wanted was to direct and choreograph; I was done performing. I was interested in telling stories from a new angle, behind the scenes. At this time I also started developing a class to help other dancers cross the bridge into acting. The first year was some trial and error, but now the classes and my methods as a director and choreographer are becoming clearer. It's extremely exciting to see a dancer become a powerful actor. The storytelling possibilities are unlimited. My own production company, Sounding Line, is in the midst of creating a new piece of theatre using hybrid dancer-actors to tell stories in a weird, and hopefully wonderful, new way.
BWW: Why do you think it is important for dancers to know how to act?
BC: Because dancers are storytellers. Whether the story is abstract or logical and linear. Dance, if it is the language being used to tell the story, is there to share a truth about humanity, to pose a question, to show common ground, or to expose a conflict. It's there to tell the story. With each new class I tell them "Being an artist ...whether a dance-maker, actor, painter, musician, singer or writer...is to, with courage and humility, take up the mantle of story-teller in the tribe. Our sole task is to bring the tribe to the fire, and remind them none of us is alone, to give them permission to feel something, experience something in this safe-house/ If we do our job right they get to go back out into the world and lead lives of renewed courage, inspiration, humor, and, perhaps, new insight. Treat this role as story-teller with grace, humor, integrity and respect."
Mary Callahan recently performed in the Broadway workshop of Sugar Babies, in Riverside Theatre's Funny Girl, and as a backup dancer for pop singer, Lily Halpern. She is a graduate of Broadway Dance Center?s Professional Semester and is studying ?Writing for the Arts? at New York University. In addition to broadwayworld.com, Mary writes for Broadway Dance Center and the Verdon Fosse Estate. |