[britbird]

A conversation with Actor: Sebastian Stan

Интервью о театре и "Пикнике" в частности.

"I don't think there was a real Hal Carter, but I think the character of Hal is the spirit of the future." - Sebastian Stan

"I don't think there was a real Hal Carter, but I think the character of Hal is the spirit of the future." - Sebastian Stan

Before starting rehearsals for Picnic, Sebastian Stan spoke with Education Dramaturg Ted Sod about preparing to play Hal Carter.

Ted Sod: I'm curious why you chose this role in this particular play.

Sebastian Stan: I have been looking for an opportunity to come back to the theatre. It's been about five years or so. I really wanted to work with Sam Gold. And then, of course, this is a great play. It's a classic. I wanted the opportunity to work with a great director on a great piece of writing. I’m also a complete fanatic about the time period and what was going on in the 1950s.

TS: Can you talk about what kind of preparation you have to do to play a character like Hal Carter?

SS: Every process is different for me, a new discovery. I don’t necessarily have one way of approaching the work. But I do always consider the specifics of the sсript. With the Internet, there's fortunately a lot of material that you can find on William Inge and his intentions. I’ve been looking at information about the shifting thoughts and feelings of the time period: everything from Elvis Presley to Jack Kerouac. There's a lot of research one can do for Hal Carter. That research mixes with your instincts. It’s very important to acknowledge the specific things that jump out at you when first reading a sсript. I have also been listening to the 1940s satellite radio station. Music was shaping the way that people were feeling at that time. Music is very helpful to me, so I find myself walking down New York streets, listening to jazz and rock ‘n roll. I can already feel a perspective change which may apply to the character. That's the fun of it: being a bit of an explorer and detective.

TS: Do you sense what the challenges are of this role by having read the text?

SS: Yes and no. It's still very early. There’s always a challenge in making dated material relatable, but the themes of restraint and the role of women are very appropriate for today’s audiences. There are universal themes in this play about being classified, having to live your life a certain way and how one follows through with their real feelings. Another challenge is to honor what William Inge wrote, his language, and to make sure it is translated to a modern audience.

TS: Do you feel that the character of Hal is relevant to you and the way you think? Or are you quite different from him?

SS: There are similarities with every character that one plays. I think there are affinities, which is one of the reasons you gravitate to certain kinds of roles. There are also differences and that's where you really have to honor what's in the sсript. A character essentially is not you. There's an opportunity to be someone else for a while. That's part of the fun. I grew up with such an admiration for the acting heroes of the 1950s: Marlon Brando, James Dean, and Paul Newman, to name a few. Paul Newman was actually in the original production of this play.

TS: Do you plan to read any biographical material on Inge?

SS: I always love reading biographies and learning the way things came to be. It’s especially interesting to learn the path of some of these goliaths of the movie industry. Essentially, Hal is a hero of the times. I think William Inge knew that. Growing up in a small town himself, Inge was very much aware of the women’s roles. I don't think there was a real Hal Carter, but I think the character of Hal is the spirit of the future. It’s tragic at the same time because he reminds me so much of Neil Cassady, who was an extraordinary muse for the beat generation and for Kerouac. He brought out the honest truth in the people he affected with his magnetism and charisma, but failed to understand the gift he had. He was trying to be a poet and writer, but what he really thrived on was inspiring people around him to confront how they felt about the times they were living through.

TS: I know it will change for you over time, but what do you think the play is about?

SS: To me, the play is about a shift that was happening at the time in America. It seemed like there was a boiling point. The bread-and-butter, “All-American” mentality was coming to an end. Everything was too quiet, everyone in their houses with their little lawns and fences. People were essentially bored. They were tired of the housewife mentality. The root of the play is how some of the characters gain freedom by learning how to feel and pursue dreams. I also think that generation was sexually restless, which had tremendous influence in the 1960s.

TS: It does feel like many of these characters are battling convention.

SS: It's a matter of “to thine own self be true”—some of the characters are trying not live in a way that has been predetermined for them.

TS: What do you make of this relationship with Hal and Madge? Is it just sexual attraction or are they soul mates?

SS: Their sexual attraction is a catalyst for a lot more that's at stake. I think their relationship is the heart of the play. I might be biased because I'm an old-fashioned romantic, so I tend to think in terms of "all or nothing." Both of the characters ignite such a primal reaction in one another that ultimately nothing else is important. Madge’s innocence and inexperience mixes with her tremendous urge to be heard. Hal is this restless soul who’s been chasing dreams in Texas, pursuing acting in Hollywood, aimlessly boozing and gambling. Then he meets this girl who ultimately makes him recognize that who he is, the way he is, is enough. He should just embrace that instead of running away from it. Something very beautiful happens at the end of the play: an acceptance of one’s self. That’s a real discovery of self-identity.

TS: What do you look for from a director?

SS: Every director is very different so there's always an adjustment period at the start of a process. Above everything else, honesty is most important. I appreciate a no-fear approach, the idea that we could both explore something and it may not be the right choice or what we end up with. It takes patience and courage to not leave any idea unexplored in the process.

TS: Can you talk about your training?

SS: I was extremely lucky to have great teachers while growing up. I went to the Mason Gross School of the Arts at Rutgers University. It is basically an extension of the Neighborhood Playhouse, where the Meisner technique was taught. I had two great teachers there by the names of Barbara Marchart and Kevin Kittle. They taught me the Meisner technique, which helped to shape my approach to theatre. There's one more teacher that I had after I left school that has been a real mentor: Larry Moss. Everyone who wants to act should take classes with this man; he's changing lives. He's phenomenal. Read his book, The Intent to Live! I should also mention that I was fortunate enough to work with several actors who have been equally influential.

TS: You've worked with Ellen Burstyn before.

SS: Yes, I'm so lucky. We worked together this past summer. I am amazed by her. I couldn't possibly be any more grateful that we're going to continue to work together. We were still shooting Political Animals together when I auditioned for Picnic, so I asked her advice. About a week later, she said "I'm supposed to meet with Sam Gold about that play." She was my first call when I found out I had the role.

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