PERFORMANCE PERSPECTIVES

"The Pianist"

SIMPLE STORY TELLING

"The Pianist" is a good story that is well told. But why is this significant to the actor? Isn't the storytelling the script writer and director's domain?

The answer to this question is obviously - "Yes". However, this doesn't absolve the actor of large responsibilities in the storytelling area for the actor is the main vehicle that carries the story forward. If the actor understands the storytelling process and therefore comprehends the role their character is fulfilling in the structure of the story then they are unlikely to subvert that story by pursuing elements that might be fun to play but in fact have no real relevance.

Diversions from the storytelling path are generally a problem. Directors know, from their experience in the editing room, that any elements which aren't pro-active in carrying the story forward, more often than not, are cut from the show. That the story is continually unfolding is an essential ingredient of linear story telling.

The Linear Story Structure
The Rehearsal Room consistently explores the view that identifying the story structure (and even the story's theme) is a useful thing for the actor to do. This process very effectively reduces the vast number of creative performance options that might be presenting themselves to the actor, down to one or two. These options are the ones that provide the most functional support to the unfolding story.

Identifying the story is not very complicated, though often actors find it hard. In linear story the most fundamental structure is quite simply a beginning, a middle and an end. What can be simpler than that? When examining a scene it is possible (where this structure applies) to clearly label these functional elements. What is just as interesting is that an entire movie can be examined in the same basic way. "The Pianist" is a classic example of this.

In considering the beginning, middle and end of "The Pianist" a very simple scenario is revealed. This is the story of a man whose desire to play the piano is interrupted by a horrible war which he determinedly survives until he can again have the opportunity to fulfill his desires and play the piano.

On The Screen
The way this translates onto the screen is also very simple. In the opening scene we see the pianist playing 'live' for Polish Radio when suddenly a series of large explosions interrupt the performance and then destroy the studio. There is no exposition, establishment of relationships or explanation of pre-history. In a Roman Polanski film the story begins at the beginning and ends at the end. In the middle are a series of major obstacles which make it harder and harder for the protagonist to survive. These obstacles incidentally give an over arching view of what it was like to live through World War II as a Jew in Poland. However, the story is about the pianist and when he finally is once again able to play the piano the story ends.

A Clear and Simple Path
Having a well-identified story path is of immense help to the actor (in fact to everyone) for it prevents the possibility of getting lost along the way. Thus the process of clearly identifying the story is as valuable to the overall journey as it is to the scene-by-scene modules. It fulfills exactly the same purpose - one in macro the other in micro.

"The Pianist" stands as a fine example of this. Here is simple story telling delivered with purpose, truth and clarity. Here also is a main performance, from ADRIEN BRODY, that supports the story every step of the way by being clear, truthful, engaging and functional. That's what the job is about.

A film well worth seeing.

Story telling structure can be more complicated than this (but not much). Members could check the archives for the Directors Notes on "Turning Points".

March 2003

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