Guest post by Pascal Langdale
(Originally published on praxistheatre.com as part of Harbourfront Centre's HATCH 2014.)
the UK, I’d be called a “jobbing actor”. That means that I work across
all sorts of media, picking up a wide variety of acting work that
provides a steady income. I have worked in corporates and commercials,
stage, film and TV, and interactive games. Going a little further back, I
have published poetry, written a radio play, co-produced movement-based
theatre, headed a flamenco company, and once danced with Cyd Charisse.
In my early thirties I studied nonverbal behavior and re-appraised my
acting techniques. When I say I’m a RADA graduate, I sometimes think
people expect a more traditional actor – a style or a working process
which I can also embrace when necessary.
Every form I've
worked in has certain established rules and conventions, developed over
years (or centuries) to serve the best interests of storytelling within
that medium. Each has its own artifice, relies on a shared experience,
and requires adaptation of the core craft of acting.
it was with a jobbing actor’s irreligious approach that I made friends
with the newcomer on the storytelling scene: performance capture. In
this medium, the rules and conventions are still being established,
found wanting, re-established, changed, superseded and hotly debated.