Posts Tagged ‘Art Carney’
A quarter of a century ago, I read a story about the actor Art Carney, possibly apocryphal, that I’ve never forgotten. Here’s the version told by the stage and television actress Patricia Wilson:
During a live performance of the original Honeymooners, before millions of viewers, Jackie [Gleason] was late making an entrance into a scene. He left Art Carney onstage alone, in the familiar seedy apartment set of Alice and Ralph Kramden. Unflappable, Carney improvised action for Ed Norton. He looked around, scratched himself, then went to the Kramden refrigerator and peered in. He pulled out an orange, shuffled to the table, and sat down and peeled it. Meanwhile frantic stage managers raced to find Jackie. Art Carney sat onstage peeling and eating an orange, and the audience convulsed with laughter.
According to some accounts, Carney stretched the bit of business out for a full two minutes before Gleason finally appeared. And while it certainly speaks to Carney’s ingenuity and resourcefulness, we should also take a moment to tip our hats to that humble orange, as well as the prop master who thought to stick it in the fridge—unseen and unremarked—in the first place.
Theatrical props, as all actors and directors know, can be a source of unexpected ideas, just as the physical limitations or possibilities of the set itself can provide a canvas on which the action is conceived in real time. I’ve spoken elsewhere of the ability of vaudeville comedians to improvise routines on the spot using whatever was available on a standing set, and there’s a sense in which the richness of the physical environment in which a scene takes place is a battery from which the performances can draw energy. When a director makes sure that each actor’s pockets are full of the litter that a character might actually carry, it isn’t just a mark of obsessiveness or self-indulgence, or even a nod toward authenticity, but a matter of storing up potential tools. A prop by itself can’t make a scene work, but it can provide the seed around which a memorable moment or notion can grow, like a crystal. In more situations than you might expect, creativity lies less in the ability to invent from scratch than to make effective use of whatever happens to lie at hand. Invention is a precious resource, and most artists have a finite amount of it; it’s better, whenever possible, to utilize what the world provides. And much of the time, when you’re faced with a hard problem to solve, you’ll find that the answer is right there in the background.
This is as true of writing fiction as of any of the performing arts. In the past, I’ve suggested that this is the true purpose of research or location work: it isn’t about accuracy, but about providing raw material for dreams, and any writer faced with the difficult task of inventing a scene would be wise to exploit what already exists. It’s infinitely easier to write a chase scene, for example, if you’re tailoring it to the geography of a particular street. As usual, it comes back to the problem of making choices: the more tangible or physical the constraints, the more likely they’ll generate something interesting when they collide with the fundamentally abstract process of plotting. Even if the scene I’m writing takes place somewhere wholly imaginary, I’ll treat it as if it were being shot on location: I’ll pick a real building or locale that has the qualities I need for the story, pore over blueprints and maps, and depart from the real plan only when I don’t have any alternative. In most cases, the cost of that departure, in terms of the confusion it creates, is far greater than the time and energy required to make the story fit within an existing structure. For much the same reason, I try to utilize the props and furniture you’d naturally find there. And that’s all the more true when a scene occurs in a verifiable place.
Sometimes, this kind of attention to detail can result in surprising resonances. There’s a small example that I like in Chapter 19 of Eternal Empire. Rogozin, my accused intelligence agent, is being held without charges at a detention center in Paddington Green. This is a real location, and its physical setup becomes very important: Rogozin is going to be killed, in an apparent suicide, under conditions of heavy security. To prepare these scenes, I collected reference photographs, studied published descriptions, and shaped the action as much as possible to unfold logically under the constraints the location imposed. And one fact caught my eye, purely as a matter of atmosphere: the cells at Paddington Green are equipped with televisions, usually set to play something innocuous, like a nature video. This had obvious potential as a counterpoint to the action, so I went to work looking for a real video that might play there. And after a bit of searching, I hit on a segment from the BBC series Life in the Undergrowth, narrated by David Attenborough, about the curious life cycle of the gall wasp. The phenomenon it described, as an invading wasp burrows into the gall created by another, happened to coincide well—perhaps too well—with the story itself. As far as I’m concerned, it’s what makes Rogozin’s death scene work. And while I could have made up my own video to suit the situation, it seemed better, and easier, to poke around the stage first to see what I could find…