People have been acting for a very long time, and the profession is rich with allure. Nearly 2,500 years ago, in his tragedy The Bacchae, the Greek playwright Euripides observed:
Headlong he runs to death.
For death the gods exact, curbing by that bit
the mouths of men. They humble us with death
that we remember what we are who are not god,
but men.
What joy to speak such lines before an audience! To call to the assembled crowd, enjoining them to consider such themes! What ham bone could resist such glorious occupation.
But actors also engage fundamental notions by which people understand the world in a way that transforms them. There is no higher praise than when a performance elicits remarks like, “I really believed what she did!” Or “He made me forget I was watching a play – I was there with him in some other place and time!”
The desire to work such magic can tempt the actor to dabble in risky psychic business. Participation mystique, for example, regarding which C.G. Jung explained, “It denotes a peculiar kind of psychological connection with objects, and consists in the fact that the subject cannot clearly distinguish himself from the object but is bound to it by a direct relationship which amounts to partial identity.”
If everything works out all right things are cool, sometimes even impressive. But, as my shrink Tom once remarked, “It’s like walking around with your unconscious hanging out…no wonder strange things happen.”
FADE IN
Imagine the interior of a 1966 BMW sedan. We had been on the road since 2 am, talking movies and screen plays and actors and directors. Ahead Highway 86 glided through the halo of our headlights, sliding endlessly away under the car. Out the back and side windows the star crowded sky glistened above the empty black silhouettes of the hills.