Thursday, January 24, 2013

Why Talent Doesn't Matter

Isn't it amazing just how important "talent" is to us?  We hold this idea up like some trophy - as though it's got anything to do with success.  Moreover, our society is steeped in this concept that the size of our talent is out of our control.  No wonder actors are always so bent out of shape.

What's the definition of "talent"?  What does that mean?  Really.  How do we judge that?  How do we put it on a scale and measure it?  How do we know if we have it or don't?  How do we know if it's greater or less than the average bear's?  And most importantly, why the Hell does it even matter to us?

In Strasberg at the Actor's Studio (which is a GREAT book!), Lee Strasberg defines talent as Sensitivity.  I tend to agree with that definition.  Stella Adler suggested that the actor's talent lies in their choices.  And choices are driven by the actor's responses, which are governed by that actor's behavior and understanding, which is guided by the actor's general sensitivity to their surroundings on and off of the stage.  So, let's agree that Talent = Sensitivity.

Let's say you're a really "Sensitive Actor".  Does that mean your sensitivity works for you, rather than against you, onstage?  Nope.  But let's say that you have taken the time and energy to build a craft that allows you to focus and use your sensitivity to your benefit.  Does that mean you audition well?  Nope.  But let's say you've struggled and learned how to present yourself as a business-person in an audition.  Does that mean you get work as an actor?  Maybe.  If you're just right for the role, then yes.  If not, then you will be some day.  You just have to be patient and keep trying.

Are you noticing the common thread?  In the scope of the equation, the size of your talent doesn't much matter.  What matters is the time and energy you devote to what you do.  What matters is your diligence.  So, in reality, the more passionate you are about acting (or really anything), the more likely it is that you will be able to become successful at it - whatever that success means to you.  That could be monetary satisfaction or artistic satisfaction...or both if you're really lucky.

The two things you really can't help are your level of Passion and your level of Luck.  If you're not passionate, then don't waste your time.  Really.  It's not worth it.  If you're not lucky and that destroys your passion, then you're no longer passionate.  Either way, the only determining factor in you having a place in this business is YOU.  The only thing that matters is how you feel about yourself.  If you think there's a place for you in this business, you'll work hard.  If not, you won't.  And if you're just lazy, then you've got to make a decision to sh^* or get off the pot!

And really...when it comes down to it, when we're casting a play, we're much less interested in the talent that an actor expresses at an audition than any other factor.  Talent is like Beauty.  You can bet that most people are less interested in being in a relationship with a drop dead gorgeous psychopath than a good-natured cutie.  Notice that I didn't suggest anyone goes barking up the ugly tree, so I'm not saying that Talent is 100% unimportant, but it just doesn't MATTER like we seem to think it does.  What most people look for in an actor is hard-work, self-expression, timeliness, and competence.  Those things in one person are extremely rare.  And all of them are within your control.

We all know countless actors that wear their talent like a badges.  Some show up to auditions, without having fully memorized and prepared their pieces.  Some don't bother to read the plays their pieces come from.  Some don't read the sides.  Some audition for places like The Actors Studio with scenes they've been working on for a week or two.  Some throw all their money away on workshops with agents when they haven't taken the time to develop relationships with casting directors.  Many of us are waiting for magic to happen.  And when a miracle doesn't present itself, we beat ourselves down.  That's like chastising yourself for picking the losing numbers on a lottery ticket.

And the truth of the matter is that nobody is better than these thoughts - no matter how far along they are in their careers or their stardom.  There is always more.  And there is always someone to tell us why what we're doing is wrong.  The only reason that it might seem like some of our heroes are invincible is because they don't let themselves wallow in their worries.  They have a public face to put on, so they have to deal with their demons quickly and quietly.  Or they just self-destruct.  One of the two.  I just self-destructed yesterday.  And I'm putting myself back together, because I've got a play to direct and a theater company to run, and I don't have time to fall apart.  Too many people are counting on me.  So, I have no other option than to treat myself well.

I know that some of the big demons I deal with have to do with the fact that my identity is so tied up in my relationship to the theater.  I'm an actor, a director and a playwright.  So, when I feel like I'm not any good, my whole world goes out the window.  And I have to remind myself that my opinion of myself is the only one that matters.  And as long as I remain committed to growing and learning, rather than knowing, I will persevere.

We have a year-round company at The Seeing Place.  We maintain an artistic home, where we read plays every week and hold workshops.  I've found that having that kind of a family is of primary importance to dealing with this business.  We have a place to grow together and to keep one another on point.  And whether that comes as a company or a class or The Actors Studio, it's a necessity in a business like ours - especially in America.  Otherwise, all we have is talent.

What demons do you battle?  And how do you cope with them?  We'd love to hear your thoughts and ideas.  Please share.  Our community depends on all of us.

14 comments:

  1. "Barking up the ugly tree" ... classic. :)

    This is one of my favorite posts thus far on this blog.

    As a career coach, one of the main things for which actors hire me is to help them be successful in auditions. With that, people will often ask me how many of my students are "good" (read: talented) actors. I'll respond with, "I don't know. That's not my business." They look at me quizzically, and I'll continue, "Their talent doesn't mean anything when it comes to auditioning. Rarely will the most talented person win. What matters is whether or not they can communicate what they want to communicate when they're in that room. That takes training, commitment, confidence, and openness. Those are the things I help actors create and nurture."

    With that, I just read a snippet of an NPR interview (thanks to Daily Actor) which talked about the difficulty "Method" actors have in auditions, which I think it relevant here. Check it out:

    Dustin Hoffman: The difficulties of auditioning as a Method Actor

    Thanks again!

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    1. This made me look up the definition of talent. The most common meaning stated was a natural ability to excel at a duty or action, and a group (or person) who has a particular aptitude for certain tasks. There are various levels of talent. And in the case of certain jobs, yes, talent matters a lot since different skill levels provide different necessary levels of success and achievement. If you're a mouse who can play the sax, your talent will put you on the cover of a blog post. But for the actor, the level of skill as mentioned in the blog does not always guarantee you the job. How many of us have said, "I could have done that if not better."? Or, "You are so talented and we love you but you weren't born on a full moon." And this happens a lot. But that doesn't mean you should throw in the talent towel. (Oh, don't you have a talent towel? I do. Mine shrinks every time I wash it.) Personally, talent does matter to me in the sense of the definition. And by that, I plan to keep learning, growing and experiencing so I can continue to build the things that Erin mentions (commitment, confidence and openness). And you know, all of the many audition classes I've invested in may have taught me how to be professional but I still bring a butterfly net into the room with me. "Talent" defined by the community of theater critics (the audience, actors, agents, reviewers, etc.) is probably based on their perception (or their level of popularity with Facebook friends).

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  2. One of my professors told my class on our first day of Freshman year, "Your friend's successes are not your failures." Because, as you said Brandon, so many of our lives are tied up in theatre, it makes it that much harder to not take rejection or other's success personally. We must keep our eyes on our page and truly try and be happy for those who achieve their goals, just as we want them to be for us.

    If, as you said, passion can live in us, then no one can take away what is most important. No matter how many roles I don't get, I will always call myself an actor.

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    1. And there is always someone who doesn't get YOUR role. :)

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  3. I think it is also important to look at where intelligence and awareness can apply to the idea of talent. I think this kind of ties in to the point that Erin made. You have to be not only lucky, but smart about what you are going after and what is the best way to go after what you want (which is why I love the Actor's Enterprise:)). This comes with experience, exposure, and an openness. After graduating school we were encouraged to "Audition, audition, audition." and I now know why. The experiences of auditions and work have taught me things and sharpen skills that no class really would be able to.

    I also really like the point you made about having a community or group of people that will keep you on point. It is a way to keep one grounded and still focused on the big picture, and it is just one of the reasons the Seeing Place is awesome to me.

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    1. So true. Life experience hons that skill - what the school books can't teach you. I had a lot of life and work experience by the time I went for my BS degree. It was interesting learning a process in class and realizing a lot of the processes learned are not followed in real life. Yet learning the process builds a foundation to work from. That's why improv is so great and I was afraid of it for such a long time. Improv comes with its own set of rules and creates a foundation so that you don't really fail. It prepares you to handle those unexpected experiences best you can.

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  4. A lot of the actors I know are lazy gits. That's why I moved to New York, to be around people who work their asses off. Cuz that's what intimidates me and makes me want to be better, not talent. Spinozo: All things EXCELLENT are DIFFICULT as they are RARE. I live by those words. Nothing in my life that has made me proud was came by easily, and that applies especially to any play I have been in. Which is why LIE OF THE MIND is going to blow yer fuckin minds.

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  5. Talent is truly a subjective thing when it comes to acting. I come from the opera world, where talent tends to be much more definable, cut and dried. (Although it still doesn't mean you'll get the job.) But even if someone has been deemed "talented," there is SO MUCH MORE---the work, the discipline, the constant learning, etc. It is an evolution, a process, and I think this is why dedicated actors are constantly putting themselves on the line, challenging themselves to "do the work."
    Auditioning just sucks; but it's good to remember that it's that way for everyone.

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  6. For me, it's about technique. I truly believe everyone has "talent", but it's the technique that separates the masses.

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  7. One of the most frustrating things for me is that there isn't a formula. Like you said, there is a special combination of Talent and Hard Work (plus perseverance and opportunity) that you just can't determine. It is different for everyone. Being someone that doesn't run away from hard work, it can be frustrating seeing others get opportunities thrown at them while they are sitting at home on Facebook. I completely agree with you that the only one thing you CAN do, is stay in it. If this is what you HAVE to do (not WANT to do. That won't cut it), then just stay in it. Keep working on your talent and business work ethic, and stay in it.

    There is a societal pressure that creeps in as you get older, and are "expected" to be more stable in certain areas. That is one thing that gets to me. It's almost because I DO work so hard, and see minimal results sometimes, that it affects me so much worse. But, I have to constantly remind myself that I am sewing seeds for my career in the arts, and it can take longer than expected to reep the rewards.

    The good news is: I am confident in both my TALENT and WORK ETHIC. So when it rains, it's gonna POUR in this B*tch!!!

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    1. I'm waiting for the storm too. Let's share an umbrella. :)

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  8. This reminds me of a speech one of my professors said during our graduation ceremony from college (BFA in [Musical] Theatre... "Top 10 ways to make it as an actor- 1) Who you know, 2) who you know, 3) what you look like, 4) who you know, etc... 10) Talent." Yep, that about sums it up....

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  9. Talent. In some areas of life it is quite obvious. A great athlete has talent that no one can question. His or her talent can be judged both quantitatively and qualitatively. In the arts, I think it's fair to say "talent is in the eye of the beholder." We all have had auditions in which we knew how great we were, but we didn't get the job for all sorts of reasons out of our control. All we can do is use the skills we have learned and developed over time and then be true to ourselves--reveal ourselves.

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  10. Great Post! Talent is something that I feel like I have sometimes and not others, it is a very fickle thing. But hard work, that is something that stays with me. I used to worship those who i thought were talented, those whom acting seems to come so easily to. I have shifted to start admiring those whom had to work hard to build their craft. Because it is only that hard work which I can emulate.

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