Reflection Essay on Aspects of Realism in The British Acting Tradition

In this essay, I am going on a journey exploring aspects and notions of realism rather than other aspects of acting through three key actors within the history of the British tradition, namely, Garrick, Kean, and Gielgud and whether aspects of their craft still exist in today’s modern acting practices. Firstly let us define what I mean when using the term Realism. As actors we strive to bring genuine truth and behaviours under imaginary given circumstances to the stage to play a character for the duration of the play, all three actors were known in their day to be one of, if not, the most real. However the style of acting practised in the 18th century would today be considered quite ridiculous, it is referred to today as ‘Bombastic acting’ and to some, it is still the stereotype of what acting is. But it is not far-fetched to propose that elements of those acting traditions have survived through development and evolution and still exist in some form today.

‘A melodrama consisted of short scenes that were interspersed with musical accompaniment. It was a linear form of drama, characterized by simple morality, good and evil characters, and bombastic acting’. (“Drama and Theatre in 19th Century”) (Victorian Era, n.d.)

The term’ Bombastic acting’ describes the style of performance practice that existed at the turn of the 18th century, actors Betterton and Booth had individualy unique ways of performing, but the tradition they carried with them   is described as one of ‘Stilted declamation and conventional patterns of movement which were to be recognized in performance of tragic roles at Drury lane and Covent garden’(Cooke, 1944)  before the emergence of David Garrick and his  naturalistic style. A fantastic example of this ‘Bombastic’ form of acting comes from ‘Blackadder the third – Sense and Senility’  During the episode The Prince Regent is due to give an after-dinner speech and following an exciting trip to the theatre the Prince tasks Blackadder with recruiting the actors to aid him in his preparation. The instruction he receives consists of exaggerated gesture, heroic stance and loud bellowing, prompting the prince regent to comment ‘Oh now look, if I stand any more heroically than this, I’m in danger of seriously disappointing my future Queen.’ 

‘Before Garrick, Actors were bombastic and flamboyant in both speech and mannerism. Acting was nothing more than reciting lines as loudly as possible with exaggerated body language. This was due in part because they had to carry their voices across the theatre, and partly because being bombastic was considered “acting”. It never occurred to anyone to do anything else.’(Sarij,2014)

Regarded as one of the most influential actors of all time Garrick burst on to the scene in 1741 and within two years he was considered the finest actor to have ever been seen, and after a sensational breakout performance as Richard III, Garrick began to garner several admirers including William Pitt the elder who said of Garrick ‘"ye best Actor ye English Stage had produc’d"  and Alexander Pope who proposed “That young man never had his equal an actor, and he will never have a rival.” He brought with him a fresh acting style which was greatly received by audiences  

He was not without his critics with some considering him to be a hindrance to the theatre, dramatist Henry Feilding was a particularly harsh critic. Garrick would go on to perform in several Shakespeare productions thorough his career and was instrumental in the rise of the Drury lane theatre where he was both a performer and manager, he would perform until 1766, he contracted typhoid fever in Italy while on tour and very nearly died in Munich. His ‘Natural’ style would help pave the way for the naturalism and realism of the likes of Ibsen.