A Quote by Christian Camargo
Juilliard is wonderful in that they don't pick just one way of working. They give you a palette. There is method acting. There is a lot of attention to Shakespeare and verse.
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I think people have a misinterpretation of Method acting, because Method acting is a wonderful thing. The thing is, if you take it too seriously, it's like religion. You start to think it's the truth. But it's not the truth. It's just a way to get somewhere.
With music, every decision you make is a reflection on who you are - I'll obsess over the color palette for a record and the promo materials. With acting, it's not just your ideas. You're one part of a working machine.
I do the best I can - I know my way around [Russian method acting pioneer] Stanislavski, but I can't take myself seriously like that. I respect people who do it, of course. I just think I'm lucky to still be working at 73. You reach a point in life where you just think, "Show up, do your job, make sure the cheque's on the way," and that's it. I'm not hungry to do anything more, really.
Acting is just part of my life. It is not my life. Whatever time I invest in acting I give my 100 per cent. But there are other things which are also important and I like to give equal attention to them.
I learned from master teachers at the University of Evansville, at Juilliard, at Shakespeare festivals all over the country, eventually landing at Shakespeare in the Park in N.Y.C. That show transferred, so I got to make my Broadway debut doing 'The Tempest' with Patrick Stewart.
Because I was writing verse, my instructor suggested I study Shakespeare. The Shakespeare teacher insisted you couldn't understand the text without seeing it on its feet.
I'm not really into method acting - the way I was taught was the good old-fashioned British way of just doing your research and getting on with it.
No one is really a method actor, everyone has their way of going about it, preparing for it, but method is preparation, it's what you do to prepare. So my method is to read the script. Some actors' method is to read the script a hundred times and in the doing of it, to immerse themselves in as much of the reality as possible. Me, I believe strictly in acting. If I am out of breath, I'm out of breath. I ain't running nowhere.
I consider myself a method singer, not a method actor. I applied method acting to singing.
Method acting is a label I don't really understand, because there's a method to everybody's acting.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
Shakespeare is one of the reasons I've stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words... I do Shakespeare when I am feeling a certain way.
Some of the finest Shakespeare has been done recently by college theater programs. I'll tell you what these young kids have: They have a natural authority in Shakespeare. They feel a right to do it. And once they honor the humanity of it, the rhythm of the verse comes with it.
For my first role, I had to audition five times. I've gotten a lot of no's and rejections. But I just had to keep working hard. I took classes; I worked on my craft and continued to work with an acting coach and just didn't give up on myself.
In a lot of African music, the singers are just singing whatever they feel at the time - because the instrumentation is repetitive, they can come and go as they please. That's how we approach it. Not verse-chorus-verse.
Once an actor told me he went to the Shakespeare School of Acting, and I said, 'I went to the Shakespeare of Acting, too' and he said, 'Oh really?' And I said, 'I went to Shakespeare Elementary School in Chicago.' He didn't take the joke well, he didn't laugh and didn't think it was funny - I thought it was funny. It's all the same to me.
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