Tuesday, July 2, 2019

WORK PLAY ACT

In FREEDOM VS. FREEDOM PART 2, I mentioned that:

both "work" and "play" are interdependent necessities, not opposed in the conventional sense that people oppose, say, "right choice" and "wrong choice."

Nowhere is this more true than in the domain of art. There are countless professions that do not invoke the spirit of play. No one asks whether a plumber or a carpenter infuses his labor with such spirits.

It's arguable as to whether some forms of art may be easier to turn out as on an assembly-line. Certainly any number of popular genres, be it mysteries, romances, or superheroes, have been critiqued as being all but identical in form and function. Nevertheless, this elitist criticism overlooks the fact that not every genre-product seems identical to its audience. Writer X succeeds more than Writer Y precisely because the audience thinks Writer X has some quality that Y does not. Often, if not always, this quality stems from X's ability to come up with characters or situations that fire the audience's imagination. This is only possible if Writer X possessed what Kant called (in a different context) "the free play of the imagination."

The art of acting might be considered less amenable to the assembly-line ethic. Millions of actors perform in stage and screen every day, and all of those performances, whether judged as "good work" or "bad work," fall under the rubric of work.

Yet the dynamic of "play" in acting is harder to pin down. On one hand, an actor must strive to mirror the emotions of a given character with as much fidelity as is possible. If the actor plays a tough guy, he must project toughness; if a buffoon, buffoonishness, and so on.

And yet, even though this reproduction sounds like "work," in the same way that an assembly-line worker would produce one identical automobile part after another, the superior actor is distinguished from the inferior one by his imaginative qualities.

To take a couple of examples from Classic Hollywood, I would compare contemporaries George Raft and Humphrey Bogart.



George Raft broke into Hollywood stardom thanks to his role in Howard Hawks' 1932 SCARFACE. Though Raft enjoyed his share of cinematic successes, today he's also known for passing on a number of potentially career-building roles, HIGH SIERRA and THE MALTESE FALCON (both 1941), ostensibly because he thought the roles would make him seem unsympathetic. In my view, he was a limited actor who couldn't manage to put himself in the shoes of such morally ambiguous characters.



One anecdote avers that Humphrey Bogart and George Raft knew one another, and that Bogart sometimes advised Raft not to take this or that role, only to take the role for himself. This has the ring of truth, since actors have been known to undercut one another to get ahead. But if Bogart did this, his actions probably produced better results for films like HIGH SIERRA. It's hard to imagine Raft putting across the combination of toughness and sentiment that make up the character of Roy Earle, as did Bogart.

How does "play" manifest in a performance, be it live or preserved on celluloid? It may be through innumerable bits of physical "business" that convey to the audience a more organic sense of the character's actuality, or it may be something more sweeping, a mental concept of the character that assembles all of the disparate "parts" of the performance into a whole greater than the sum of those parts. But in any case, the profession of the actor seems particularly apt as a means of distinguishing the interacting forms of work and play.

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