Brando was not alone in his embrace of method acting, which was popularized at the time by Lee Strasberg’s Actors’ Studio, said Keri Walsh, Ph.D., associate professor of English. But his performance in the film had the effect of making it synonymous in the popular imagination with explosive, masculine, working-class characters. Women, it was thought, did not embrace it.
“In fact, the method is a way of constructing and preparing for a performance, and it’s a way of working where you bring your personal life to the role, and you aim for a very naturalistic physicality through exercises,” she said, noting that physicality need not be of the blustery sort perfected by Brando.
“Those things could lead to any kinds of performances, so there were always women at the Actor’s Studio who went to Hollywood and had varying degrees of success.”
Walsh had explored method acting previously, in her latest book Mickey Rourke, (British Film Institute 2014), and was working on a follow up that would explore gender and sexuality and method acting. That lead her to realize that female method actors deserved their own story.
Support from Hollywood
This earned the attention of the Academy of Motion Picture Arts and Sciences, which recently named Walsh a 2018 Academy Film Scholar. The award includes a $25,000 grant to conduct research for a monograph be published by Routledge that is tentatively titled Stella’s Claim: Women, Method Acting, and the Hollywood Film.
It’s a big jump for Walsh, who is the founder of Fordham’s annual Irish Women Writers Symposium and editor of the modern editions of James Joyce’s Dubliners (Broadview Press, 2016) and The Letters of Sylvia Beach (Columbia University Press, 2010).
“There are fellowships that people know to apply for every year, like the National Endowment for the Humanities, but this one, I just found on my own. I thought I would throw in my hat, and actually was very stunned to receive the award,” she said.
Method acting, which is based on the teachings of the Russian theorist and director Konstantin Stanislavsky, places emphasis on bringing emotional truths and natural physical behavior to roles. Strasberg built on this, Walsh said, by guiding actors through exercises where they revisited a powerful memory from their own past.
“That helps you theoretically connect to some kind of powerful emotion. Then you have to find a way to bring that to the character,” she said.
“It’s this complex thing where you’re creating a relationship between your own emotional experience and the emotional experiences that you read about in the dramatic text that are those of your character.”
The Connection to Feminism
Because the process has some similarities to therapy, it occasionally gets a bad rap as mere navel-gazing. Walsh said these critiques miss the fact its popularity coincided with the rise of second-wave feminism and that actors such as Geraldine Page, Julie Harris, Shelley Winters, Kim Hunter, and Joanne Woodward found it to be extremely valuable to their work.
“When Ellen Burstyn talks about the experiences she had in her family as a woman, in her first marriage, an unexpected pregnancy, and all the experiences of her life that led her to become a feminist, those were experiences that she used in Alice Doesn’t Live Here Anymore,” said Walsh.
“I argue that the personal basis of method acting was actually a way for women actors to say ‘I’m bringing my personal experiences of injustice and what I’ve noticed in society about being a woman to the role. Method acting invites me to do that and says, even if the script doesn’t currently contain that, you can bring it. You have a right as the actor to show what you know.”
One need only to look at Brando’s Streetcar co-star Kim Hunter, who won an Academy Award for her role as Stella Kowalski, said Walsh. As part of her research, Walsh examined notes that Hunter made to her copy of the film’s screenplay, and compared reviews of the 1947 Broadway production, which she also starred in, to the 1951 film to trace what she calls a “feminist evolution” of Hunter’s performance.
“Even though Elia Kazan, who directed both the Broadway and the film version, did not see her character as having much feminist potential or didn’t care much about her character, Hunter molded her character to be a very informed kind of treatment of domestic violence in the context of men coming home from the second World War,” Walsh said.
“We’ve really written that one performance off as just ‘Oh she’s just the abused wife, so the method must not be good for women.’ But if you actually look at how she approaches the role and changes it from Broadway to Hollywood, it actually is quite a feminist story of trying to take seriously what a woman is going through in that situation.”
A Career Focused on the Performing Arts
Although film is a relatively new area of research for Walsh, she has long explored performance art and theater. In 2016, she organized the New York gathering of Waking the Feminists, a movement that calls attention to the wealth of women’s voices that are excluded from Irish theater.
She said she’s fascinated by the self-transformation that actors undertake for their craft.
“I think of myself as a feminist cultural historian who is trying to listen to the voices of women who have been in the industry, whether it’s in Irish theater or in Hollywood. I try to do the archival work that reminds people that their stories really challenge the dominant paradigms,” she said.
Their stories are especially resonant in the #MeToo era, she said, because actresses who might have kept personal stories involving abuse sequestered to their acting classes have now taken their stories public instead.
“Was it fair to just say ‘We’re going to talk about this in acting class, and then you put it away and use it to fuel your performance?’ Female actors are saying ‘no,’” Walsh said.
“I think Hollywood is ready in some quarters to listen to this. The fact that my project got this award from the Motion Picture Academy; I think they are saying, ‘We want to hear the stories and tell the history now.’”
]]>“Waking The Feminists,” which was held at the Lincoln Center campus on Feb. 28, followed similar events in Ireland protesting the decision of the Abbey Theatre—the country’s national theater company—to mark the centenary of Ireland’s independence with a program that included just one play written by a woman, and just three directed by a woman.
Keri Walsh, PhD, assistant professor of English, said the gathering was about signaling to Irish women in the arts that their voices are being heard in New York, and that their campaign is sending a galvanizing message to theatre makers here. The day’s events consisted of scholar’s panel and a practitioners’ panel and were well timed, falling on the same night as the Oscars, she said.
“The problem is not just an Irish problem, but also an American one; not just a problem in theater, but also in film and television, and not just a problem for women, but also for people of color, working class people, and anyone who hasn’t been traditionally included in storytelling on all of our various kinds of stages,” she said.
The eight member practitioners’ panel included a paper by Lucy McDiarmid discussing the subtle ways that Lady Gregory, who co-founded the Abbey with William Butler Yeats, was and was not a feminist. It also included remarks by Elizabeth Brewer Redwine about the life and work of Sara Allgood, an actor whose success took her all the way to Hollywood in the 1930s.
Clair Wills, PhD, the Leonard L. Milberg Professor of Irish Letters at Princeton University, said that protests against the exclusion of women from Irish theater are depressingly familiar. Similar protests erupted as recently as the early 1990s, when the first three volumes of the Field Day Anthology of Irish Writing (W. W. Norton & Company, 1991) were released with little female representation.
“We need to reflect on the fact that this kind of feminist protest appears to have so little purchase that there is little memory of previous iterations. [That] is partly what allows the persistent ignorance of women’s work and women’s representations to continue,” she said. Wills said that when she helped edit follow-up volumes, she and her co-editors took on the task of rectifying the glaring errors.
The Feb. 28 event was sponsored by Fordham’s Institute of Irish Studies and supported by Mary Brautigam, TMC ‘74, and Richard Brautigam, FCRH ’73.
Richard Brautigam said the couple, both of whom are Irish citizens, hopes to bring to Fordham the sort of scholarship and open inquiry that can be found at NYU’s Irish House, where they are members. Brautigam noted that Fordham’s history is steeped in Irish history as its founder, Archbishop John Hughes, hailed from the Emerald Isle.
“He was the greatest defender if the Irish in New York, and it’s because of him that we’ve been able for the last 150 years to proudly raise our heads above the parapet,” he said.
Mary Brautigam likewise credited Fordham with helping her build a future in the United States. She was the first of her family to be born here, and the first to graduate from college, thanks to generous financial aid she received.
“Fordham is hugely important to a great number of Irish Americans in giving them a chance for an education,” she said.
“We thought Fordham, with its legacy, would be a great place to expand the offerings in New York City of Irish culture.”
John P. Harrington, PhD, director of the institute and Dean of Arts and Sciences Faculty, said that thanks in part to the Brautigam’s generosity, Irish studies is enjoying a resurgence of interest at Fordham, as the country’s history is intertwined with not only the history of the University, but also the Catholic Church and New York City.
In addition to Waking the Feminists, the Institute will be hosting three more events this year, including a night of music and dance with the band the Narrowbacks on March 10, a presentation by Man Booker Prize-winner Anne Enright on Sunday, April 17, and an event featuring Peter Quinn and Terry Golway on Friday, May 6.
“There is a real interest in Ireland and contemporary events, because its about how small countries function in the European union, its about asylum issues; it’s a great introduction to global conflicts and issues,” he said. “It’s not just of interest to people of Irish heritage.”
Van Hughes, a 2005 alumnus of Fordham University’s Theatre Program, has landed the role of Johnny in the Broadway production of American Idiot, the theatrical adaptation of Green Day’s rock opera of the same name.
“I’d been waiting in the wings, as they say, for about a year,” said Hughes, who had been an understudy for the musical’s three lead characters—Johnny, Tunny and Will—and whose Broadway credits include 9 to 5: The Musical and Hairspray. “It really taught me a lot about rolling with the punches, and never knowing what you’re going to get.”
In the show, Johnny is a disaffected youth, fed up with the trappings of modern suburbia. He moves to the city and quickly loses himself in sex, drugs and rock and roll, while his friend, Tunny, enlists in the military. A second friend, Will, languishes in the trio’s hometown, Jingletown, USA, raising a child with his girlfriend, Heather.
“It’s about people searching for meaning, like all shows,” he said. “It’s about these kids trying to figure out the next steps forward in a post-9/11 world.”
After studying musical theater at the Governor’s School for the Arts in Norfolk, Va., Hughes wanted to explore the craft of acting in full—which is how he ended up at Fordham.
“One of the main things I learned at Fordham,” he said, “was the importance of physical actions. You have to use your body to tell a story. Someone in the back row needs to understand the story by the way your body is positioned. I have to show [my character]is working something out while singing lyrics that aren’t necessarily expressing that.
“I combine what I learned at both schools for what I do every night on stage.”
In addition to his Broadway credits, Hughes has appeared in the films Sex And The City: The Movie, Sex and the City 2, Tenure and Rachel Getting Married.
His first official performance as Johnny was Tuesday, March 1, at the St. James Theatre.
For tickets or more information, click here.
—Miles Doyle, FCRH ’01
Edward Fox, the eminent British actor, brings to life the author and the world of Anthony Trollope in a one-man performance drawn from extracts of the Barchester Chronicles and from An Autobiography.
Anthony Trollope stands out as a hugely popular novelist, one of the greatest of the Victorian era, an author invested with a wonderful gift for words. For six of his novels he invented Barsetshire, both a county and a town and he filled this world with an astonishing range of characters from Dr. Harding, the gentle Warden, to Mrs. Proudie, the domineering Bishop’s wife. Like all truly celebrated novelists, Trollope deals with conditions of life that touch men and women, against the background of country life and the complexities, plots and counter-plots of the cathedral close. Humane, witty and well-observed Edward Fox wields his magic to bring many of these much-loved characters to life. The extracts from the novels are joined together with parts of Trollope’s controversial autobiography published a year after his death in 1883. This book, unlike the novels, is as famous for what it leaves out as for its plain spoken directness.
This piece is the result of a collaboration between Richard Digby Day and Edward Fox, which began five years ago. The play opened in 2008 and was widely performed again in 2010, its success resulting in the current run for six weeks in the Riverside Studios in Hammersmith, London. Throughout his long career, Digby Day has made many other one person performance pieces for a variety of famous British actors, including Honor Blackman and Geraldine McEwan. Digby Day is the Artistic Director of Fordham University’s London Dramatic Academy, a challenging, practical study abroad program focusing on British theatre.
POST-SHOW DISCUSSION
There will be a post-show discussion at the Riverside Studios with Edward Fox and Richard Digby Day on Fridays February 25 and Friday March 25.
TICKETS and INFORMATION
February 22 to April 2, 2011
Riverside Studios, Crisp Road, Hammersmith, London W6 9RL
Box Office: 020 8237 1111 www.riversidestudios.co.uk
£15 – £25
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LDA is a fully accredited, 14-week intensive theatre programme at the Fordham University London Centre in Kensington Square (located at Heythrop College, University of London). March 1 is the application deadline for Fall 2011. The most up-to-date application forms are available at: www.fordham.edu/LDA. Completed forms can be emailed to [email protected].
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