There is a controversial argument to be made that, in certain respects, the status of acting as an academic discipline and learned craft has diminished with the democratisation of media technology. Yet today, performers such as Megan Tremethick, who joins us to discuss the subject, can emerge from every walk of life, while their work can reach audiences through social media videos, independent films and small-scale theatre productions in ways that might once have been impossible.
Has the Democratisation of Performance Weakened the Craft?
Advocates of traditional actor training argue that this has contributed to a decline, not necessarily in natural talent, but in the depth of preparation and intellectual engagement expected of performers. This encompasses everything from the British classical training tradition, with its emphasis on voice, movement, textual interpretation and technical discipline, to the influential American approaches developed by Lee Strasberg, Sanford Meisner and Stella Adler, each of whom pursued different methods of achieving truthful and imaginative performance.
Modern British conservatoire training is considerably broader than the old stereotype of elocution, poise and received pronunciation. It frequently incorporates movement, textual analysis, contextual studies, screen acting and a variety of performance techniques.
The criticism is that, without an understanding of theory or technique, actors may perform in an imitative manner, reproducing whichever styles currently prevail in popular culture. Without a technical foundation, the democratisation of performance may also encourage an expansion of overconfident amateurism, potentially preventing some performers from developing the range, discipline and self-knowledge required for a sustained career.
Training, Access and the Problem of Gatekeeping
The contrary perspective is that traditional institutions can operate as cultural and professional gatekeepers. Critics argue that drama schools enjoy privileged relationships with agents, casting directors and other parts of the industry, allowing their graduates access to opportunities that may remain unavailable to equally talented performers outside that system.
Many of those performers come from less privileged backgrounds, and for them social media, independent production, private coaching and online or self-directed learning can provide positive alternatives.
The question should not, therefore, be reduced to a simple opposition between formal education and complete ignorance. An actor may study seriously without attending a prestigious institution, just as graduating from one does not automatically produce a great performer. The deeper question is whether actors regard performance as a craft that requires continuing reflection, practice and development.
It is an interesting predicament. From my own observations as a producer, there remains considerable interest in performance throughout Britain, with local colleges continuing to attract substantial numbers of students to drama and the performing arts. Yet many professional opportunities still appear painfully concentrated within a small number of cities and established networks.
Independent film and theatre may provide at least a partial remedy by allowing performers to develop their abilities, create their own work and reach audiences outside the conventional system.
It was with some curiosity, therefore, that I discussed the subject with Megan Tremethick. Nowhere is the tension between formal study, self-directed learning and practical experience more apparent than in the world of British independent horror.
Among the performers who regularly appear in the genre, there can be considerable disagreement over what an actor ought to study, how that knowledge should be acquired, and whether formal research or training is necessary at all.
Megan Tremethick on Acting, Emotion and Self-Education
Lawrie:
Megan Tremethick, the independent film publication D&CFilm recently noted that you are “often described by critics and fans as the ‘Vivien Leigh of indie horror’”.
That comparison has not arisen simply because you bear a resemblance to the celebrated actress, but because your performances, and the films you have directed, including Spoiling You, reflect a profound interest in the British classical acting tradition.
In particular, your work places considerable emphasis upon voice, language, textual interpretation and wordplay.
How important are these disciplines to an actor? What formal study or self-directed learning have you undertaken when preparing for your films and continuing to hone your craft?
Megan:
Well, I didn’t come from what might be described as a privileged background, and I fought my way towards the acting profession through college-level access training and an enormous amount of self-directed learning.
For me, popular culture did not provide an excuse for mimicry or a passive approach to my craft. The current fashion for detached, understated acting, with its constant refrain of “do less, do less”, was at odds with how I perceived human behaviour and with the performances I most admired in theatre and cinema.
This blandness and lack of colour are evident in a fair amount of mainstream acting. Within the horror genre, at least, actors playing more unusual characters are often battling against that orthodoxy. I think of performances such as Amy Madigan’s in Weapons, Inde Navarrette’s in Obsession, Essie Davis’s in The Babadook and Toni Collette’s in Hereditary, or indeed almost anything else she has appeared in!
By contrast, performances that lack emotional conviction and rely upon aloof detachment or irony often reflect, to me, a cautious creative ideal: a reluctance to express genuine vulnerability or emotion.
I believe self-directed learning is one of the most important tools available to any actor, especially those who can’t attend prestigious acting institutions full-time. I have been fortunate enough to undertake training with the Royal Academy of Dramatic Art, with a particular emphasis on voice, speech and elocution, alongside foundational work in preparing for a role.
This involved everything from practical exercises to the theories of Konstantin Stanislavski and Uta Hagen, as well as textual analysis. In some of the informal acting environments I have encountered, textual analysis has not always been given the emphasis I believe it deserves.
I have also studied Shakespearean performance at RADA under Geoff Bullen, developing my techniques for approaching and performing the works of William Shakespeare. The experience reinforced my belief that studying Shakespeare can benefit every actor, regardless of the genre in which they work. One of my long-term ambitions is to perform his work professionally, both on stage and on film. Among his plays, Macbeth, Richard III and Julius Caesar remain particular favourites.
As regards self-directed learning, I have taken a deliberately vintage approach, one that Vivien Leigh or Laurence Olivier might have approved of, or at least one consistent with aspects of the theatrical tradition in which they were trained.
The British Horror Studio has been keen to cultivate something of the classical repertory tradition associated with institutions such as the Old Vic. To assist me, the studio acquired a collection of elocution and voice-training books from the 1920s and 1930s, including Elsie Fogerty’s Speech Craft and The Speaking of English Verse.
These books reflect many of the speech conventions associated with early twentieth-century received pronunciation. They have been instrumental in helping me lend greater authenticity to my performances in the studio’s period-styled films.
One also helped me develop the transatlantic accent I required for the B-Team’s Chronicles of Depression, in which I co-starred with Ian McCulloch. As a former member of the Royal Shakespeare Company, Ian seemed to teach us something every time he spoke.
Acting as a Lifelong Discipline
What Megan’s experience suggests is that the real divide is not between formally trained and untrained actors, but between those who treat performance as an evolving craft and those who do not. The democratisation of technology has undoubtedly opened doors that were once firmly closed, and independent film and theatre have benefited enormously from that expansion. Yet opportunity alone cannot replace study, reflection, technical discipline or the courage to develop an individual artistic voice. Perhaps the healthiest future for acting lies not in defending old institutions unquestioningly, nor in dismissing them as irrelevant, but in making serious learning more accessible while preserving the belief that performance, however instinctive it may appear, is still an art worthy of lifelong study.
About Lawrie Brewster
Lawrie Brewster is a veteran horror film producer with over 15 years of experience. He leads Hex Studios, serves as president of Amicus Productions, and runs the British Horror Studio project in collaboration with filmmakers from around the world.
Lawrie has recently published a series of fascinating articles, including his five top tips for indie filmmakers, his thoughts on the current state of film distribution, the creation of the British Horror Studio project, his journey from outsider to filmmaker, and his staunch defence of 1980s-style Sword and Sorcery.
He also recently interviewed Jeff Barker and Andy Edwards on the challenges, stresses, and psychological battles involved in producing films and remaining (somewhat) sane.
