It’s Always About You

Acting coaches and directors reassure beginning actors who are concerned about portraying characters who are genuinely evil in some way that it is not themselves they are displaying on stage, but rather a character, and remind the actor that his/her job is to portray the character without judging the character. We then tell the same actors that they must find a point of empathy if they are to portray the character honestly. The actuality is that the actor is portraying a character filtered through him/herself. Not only are the playwright’s fingerprints all over the character, so are the actor’s. It’s called interpretation, and every actor does it differently, because each actor is an individual; consider all the different portrayals of Hamlet you have seen. And because he/she is the filter, the actor cannot but reveal something of him/herself in the portrayal.

The same is true for writers. Milan Kundera has the narrator in The Incredible Lightness of Being ask rhetorically, “Isn’t it true that an author can write only about himself?” This idea is echoed and amplified by Donald Murray, Pulitzer Prize-winning journalist and teacher, who said “all writing is autobiography.” Even those writers who seem to be leaving themselves out of their narratives manage to reveal personal information as they tell their stories.

Although it may not be quite so obvious without the words, the same applies to the visual arts. Ansel Adams has said, “There are always two people in every picture: the photographer and the viewer.” The artist is always visible; very few have trouble deciding whether Georgia O’Keeffe or Robert Mapplethorpe created a particular flower image. The Auteur theory holds that a film “reflects the director’s personal creative vision.” For example, we can easily distinguish the difference between a John Ford western and one by Sergio Leone.

We expose ourselves with our work; we can’t not do it. Our creative vision demands that we work within our own aesthetic. So we put into our art those things that we think are important, editing out things that, in our view, shouldn’t be there. And it’s all there: not only how we think about artistic elements and how we think about our subject matter, but who we are. Some of what we say about ourselves with our art will certainly be misunderstood, and some will be discernable to only a limited number of viewers; but some will be obvious to everyone.

But then, isn’t that part of why we are doing art in the first place? We have things that need to be said, ideas that need to be shared, emotions that deserve to be expressed. So we put it into our performances, our paintings, our photographs, our paintings, our poems, our sculptures.

The good news is that we are not revealing everything. Anyone who studies the work of any artist and pretends, on that basis, to know everything about the artist, is foolish, if not delusional. There are aspects of any artist that reveal themselves, and there are some things that just don’t come through—even to the most perceptive of viewers. So you can still have some secrets.

The bad news is that we are often so close to our work that it is difficult to determine just what it is revealing about us. Most of us know, one way or another, what we are trying to do with our work, but we seldom stop to think about what our work is saying about us.

And even though it may be initially uncomfortable, exposing some of ourselves through our art is something we need to be aware of and come to terms with. Remember that regardless of what the subject of your art may be, regardless of the medium, or technique, or approach, it’s also always about you.

Date: Monday, 4. February 2013 0:41
Trackback: Trackback-URL Category: Creativity, Originality

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