演员的诞生（三）For the love of the stage（3）

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本期的节目让我们一起来听听，在澳大利亚的舞台上，演员是如何诞生的。

演员的诞生（三）For the love of the stage（3）

Steve Grimwade 
This does bring me to my next question - this idea of how you use your skillsfor good and evil and how you actually bring your acting into your life. Areyou acting now?

Rinske Ginsberg 
Of course, yeah, because I don't think you ever not act because differentcircumstances bring out different aspects of your personality. So it's likesomebody says to me [unclear] I'm just not myself - that wasn't authentic - andit's like well I think this is a little bit of a - you're on the wrong path ofthinking for me, because if I'm in hospitality and I'm serving you I need tobring out the cheer in me to connect with you. You know what I mean. It's like- and if I'm talking to my dog I'm a different kind of - so we have manypersonalities in real life so, yes, but I consciously do it in class. Iconsciously do it. I will play - because I'm basically an introvert. I know itdoesn't sound like it but I am. I'm very quiet at home. 

I'm solo most of the time, buthere I've got to be in front of 40 or 50 people and I have to - or even five ina room - but I have to motivate them and I have to be the - walk the walk andtalk the talk.

So you can't be just playing oneversion of yourself because you feel like it and whatever - yeah, that's great,thank you, okay, next. You can't do that. That's something to recognise ifyou're - depending on the circumstances, even in something like this, I need tobe modelling the energy that you can hear over the radio. I need to bemodelling energy so I connect with you. Do you know what I mean? It's like it'sa - we are interactive, whether it's a one-on-one, a small tutorial group, acomputer lab, a large lecture hall. There are zones of energy that arenecessary and ways in which you can create connection really.

Steve Grimwade 
I want to actually go to maybe a negative view of the world of acting. Whatmakes a successful actor as opposed to a good actor?

Rinske Ginsberg 
It depends on your versions of what you define as success. Is success making alot of money? Is it Hugh Jackman or is it…

Steve Grimwade 
I probably was actually going towards that visibility, stability in life, yourability to act to make a living.

Rinske Ginsberg 
I think the successful actor is the active actor, the strategic actor, who isreally open and not selective in a way, because the more experienced an actoris the more he can bring or she can bring to the role. 

Acting is a lifetime profession.That's the joy of it. It's not just about you in the beauty of 18 to 28. It's -well you look at Ian McKellen or some of our great Australian actresses. Reallyat the top of their game in their 60s, 70s and 80s. Even Robyn Nevin - it goeson - Robyn Nevin - there's a whole stack of them, but they just get better andbetter with age because it's the depth of life experience and the complexity ofour personhoods.

Steve Grimwade 
Are those opportunities becoming more realistic as you get older, because Imean - not you personally but as we get older - there's always been that argumentthat acting is a young person's sport?

Rinske Ginsberg 
Yeah. Well the thing that's so extraordinary about living now is thatperformance and acting can take many forms. So the actor can be an avatar; theactor can be - if you think about Andy Serkis or Cumberbatch's Smaug in TheHobbit, you know what I mean, it's like motion capture, web series, you cancreate your own niche channel; your personality can be internationallyrenowned. Do you know what I mean? 

There's many ways in which anactor - not just the conventional in a darkened room an audience and a text -acting is everywhere, everywhere, and the successful actor can exploit all ofthose possibilities and I would - I would - and the successful actor is theactor who believes in training I would suggest, because you need to beperformance-fit. You can't just - these days because there's more demand onyou.

Steve Grimwade 
In 2017 you created a most Fringe - sorry, in 2017 - I should have done thoseexercises - in 2017 you created the most Fringe shows ever with fellow livinglegend, Ian Pidd. What are the perfect or not so perfect ingredients of aFringe show?

Rinske Ginsberg 
Oh, that is really difficult because the definition of Fringe has changed overthe years - well certainly the actual reality of Fringe. So the definition of aperfect Fringe show is surprise. Really on a very simple level you go to theFringe to see stuff you will never see in any other circumstance in the firstinstance because it's Fringe. You'll see something there that maybe in anotherfive years you start to see on the main stages because Fringe is the source.That's where people get their first airings because it's open to all and it'snon-curated in the main. 

There's some certain programsthat are curated but you get to see things that people where you just go 'oh mygod I have never seen an eight foot puppet doing that', or, I don't know, 'I'min a car and I'm going down the backstreets of Kensington and what happenedthen? Why is she running along the river and oh what was that that fell in thewater.' You know what I mean. It's like - Fringe just takes you on the mostamazing journeys. It's really - yeah, so I would say surprise is thecornerstone.

Steve Grimwade 
In 2016 the Fringe made you their second only Living Legend. Seeing you winthat honour truly warmed my heart. Here was a room of a few hundred peopleapplauding madly and they were madly in love with you. My sense was that youhad impacted all of them all their lives, and this for me reaffirms my beliefin community and participation. Modesty aside, what was it about yourcontribution to the Melbourne Fringe that elevated you in their eyes?

Rinske Ginsberg 
Look really on a simple level I think I've been around a long time, solongevity is one of those things. Look, back in the '80s really I was a ratbagof a performer. I did my training here but really I was a terrible actress.Terrible with text, absolutely terrible. So really on graduation if I was goingto stay in this kind of theatrical industry on any level I had to pioneer myway into performance - what could I do as a performer - which was where I beganto find movement and motional improvisation through various different sources. 

I just travelled and worked withteachers I liked. So very early on I was part - well I was an improvisationaltrapeze performer. Motivity was my form; improvisational gymnastics andtrapeze.

So that was - that laid thegroundwork for me. My friends had been - subsequent friends were the people whostarted Fringe network. We were in the parades. I was just involved for a verylong time. 

Happily I've had thisassociation with VCA over many years so I have had a lot of chances to workwith students and mentor them in some ways. So I think it's just that - strangeand wonderful networks - and part of that was when I was here as a studentthere was the big rise and rise and rise of - well the rise and rise ofeccentric Fringe performance. So venues like The Flying Trapeze Café had justopened. The Pram Factory was out of La Mama and Melbourne Uni. The Pram Factorywas rocking way back in the '70s. So I put myself through my three years oftraining here in a number of ways. 

Firstly, I did a lot ofhospitality but I was a fire-eater at nightclubs and I also worked at The LastLaugh which a lot of us did, which was this fantastic theatre restaurant;really such an incredible institution that eventually led onto Comedy Festivaland - it's a huge history. We can't go into it; it's just forever.

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