A Quote by Kunal Nayyar
I went to the University/Resident Theatre Association auditions. Deans come and watch you in this theater. You have three minutes, and you have to do two contrasting monologues - at that time, this is 2003 - one classical and one contemporary.
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In a large university, there are as many deans and executive heads as there are schools and departments. Their relations to one another are intricate and periodic; in fact, "galaxy" is too loose a term: it is a planetarium of deans with the President of the University as a central sun. One can see eclipses, inner systems, and oppositions.
I've never had any feeling of disconnection between the classical theater, or the contemporary theater, or musical theater, or the thing that we call opera.
I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.
If a piece of music is under three minutes long, it's rock. Over three minutes, it's classical.
Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
Acting is a bit like being an athlete. You spend all your time getting ready to do something for two minutes. All the things that made my career in the movies happen took two or three minutes, which is the time that it takes for a 'take'. In that time, something happens. That's what people know you for, just like someone running the hundred metres.
When I was doing theater for all those years in New York, I did a lot of classical theater, wearing big corsets and big dresses and doing dialects. It's interesting that once I moved to TV, I'm playing these scrappy, contemporary toughies.
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.
Theatre probably originated without texts, but by the time we get to the classical Greek period, theatre has become text-based.
If I play two minutes, three minutes, 20 minutes, it don't matter to me. As long as we win.
The TV show I do ['Dr Quinn'] is the day job that enables me to work with this theater [Pacific Resident Theatre Ensemble]. That's all I live for. That's what I care about. There's no dough in it. Nothing to do but lose money. But it's all from the heart, and that's why it's so much fun.
I'm not turning my back on classical theater. It's all about opportunities and timing a lot of the time when things come up.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
My dad worked for a theatre company that was two minutes away from my primary school, so I'd just walk there after school and watch the rehearsals. I think that's probably when I fell in love with acting and telling stories.
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