In one paper, published in Royal Society Open Science, a team led by Steven Brown at McMaster University in Ontario recruited 15 young Canadian actors trained in the Stanislavski approach, and scanned their brains while the actors assumed the role of either Romeo or Juliet, depending on their sex. However, a pair of research papers in psychology published this year has provided some concrete evidence, and results suggest that actors’ sense of self is changed profoundly by their characters. Until recently, this debate over whether actors literally lose themselves in their roles was largely a matter of conjecture.
For example, Samuel Kampa of Fordham University in New York City argued on Aeon recently that the notion of character immersion was exaggerated, and that actors ‘don’t literally forget who they are, since their actual beliefs and desires remain the same’. ‘Actors may often prolong addictive, codependent and, potentially, destructive habits of the characters they have embodied,’ he writes.īut some commentators are skeptical about all this. Mark Seton, a researcher in the Department of Theatre and Performance Studies at the University of Sydney, has even coined the provocative term ‘post-dramatic stress disorder’ to describe the sometimes difficult, lasting effects experienced by actors who lose themselves in a role. My mum says I’m much curter with her when I’m filming Sherlock.’ For instance, Benedict Cumberbatch said that, while he enjoyed playing a character as complex as Sherlock Holmes, there is also ‘a kickback. There is certainly anecdotal evidence that actors experience a blending of their real self with their assumed characters.
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If a little fantasy roleplay can lead to a morphing of one’s sense of self, then what must it be like for professional actors, and especially so-called method actors, who follow the teachings of the Russian theatre practitioner Konstantin Stanislavski and truly embody the parts they play? It took a while to shake off the fantasy persona, during which time I had to make a conscious effort to keep my manners and morals in check, so as not to get myself into some realworld trouble.
Our favourite was Vampire: The Masquerade, and I can well remember experiencing a kind of psychological hangover after spending an afternoon in the character of a ruthless undead villain. 62 minutes.At our English boarding school in the 1990s, my friends and I would spend hours immersed in roleplaying games. Available on multiple streaming platforms. But another grand theme slowly emerges in these conversations: the tension between the superficial civilization of humankind and our innate barbarism. We learn here that war and violence are recurring themes, as any Kubrick aficionado already knows, in works such as the great “Paths of Glory” and Kubrick’s first feature, “Fear and Desire” (although the director calls that last one an embarrassment). But as the film points out, several of those films - “Spartacus,” “2001: A Space Odyssey,” “A Clockwork Orange,” “The Shining” and “Full Metal Jacket” - are now considered among the best of their respective genres: historical epic, science fiction, urban violence, horror and Vietnam War film. It’s notable that Kubrick made only 13 features over a four-decade career. These are intercut with scenes from the director’s films, archival photographs, and snippets of interviews with stars who have worked with Kubrick, including Jack Nicholson, Malcolm McDowell, Tom Cruise and Nicole Kidman.
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More a savory snack than a full meal, the brisk documentary “ Kubrick by Kubrick” is anchored by clips from audio recordings of conversations between the late filmmaker Stanley Kubrick and French critic Michel Ciment.
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