PERFORMANCE PERSPECTIVES

"Best in Show"

HOW NOT TO 'SHOW'

This is another great film for actors interested in the process of acting. Its great because,

• without exception they are very good performances
• it confirms how well the theory of performance translates into practice.

Extremely Banal
The first thing that stands out in this entertaining film is the extraordinary mix of the extreme with the banal. So consistently does this pattern occur that it could be this is a deliberate creative policy on which the writing and the production processes were based. The end result is a remarkable balancing act between the eccentric and the ordinary. Consequently many situations, which could have ended up playing in the tradition of 'sketch comedy', in fact achieve a wonderful level of realism. This seems to eloquently support one of the theories which The Rehearsal Room often discusses - that the combining of opposing extremes frequently produces a complex and believable outcome.

The Simplest of Dramatic Tensions
This very engaging film, which appeals to all ages, manages to do so from a minimalist story base. One critic stated that if Christopher Guest's stories became any slighter they would blow away. And it's true to say that the story is a very simple one and in itself not highly dramatic - and yet every scene holds audience interest through an elegantly simple dramatic conflict. This emanates from the tension which exists between the characters. However this is definitely not melodrama. The tensions emerge from very simple issues. Each couple has a sometimes intriguingly well-disguised basis for the dramatic tension which exists between them. Here is a perfect example of how small problems can produce good drama.

There are of course some very big problems to be confronted and these are kept in balance by being dealt with in very simple ways.

Colourful Characters
Best in Show is full of very colourful characters. These characters are created through some very big performances yet they always remain thoroughly believable. They are believable despite the fact that numbers of them can be seen to be "acting". However they are not acting out superficial choices to guarantee that the cinema audience understands their character - these actors' choices are not intended to affect those watching beyond the camera. They are absolutely focused on motivations generated from relationships which exist in the character's world.

JOHN MICHAEL HIGGINS for example plays a gay character who frequently behaves in a very 'camp' manner trotting out at regular intervals numerous unfunny gay jokes. This is a character that acts a role which is designed to challenge the world around him. It may also be that he does this to test his very conservative and definitely not flamboyant partner played by MICHAEL McKEAN.

Best in Show is a 'mockumentary' which observes a group of people as they prepare and participate in a major dog show. Many of the characters present their dogs in the competition and for some this is also a very deliberate and public performance for the benefit not only of the dog show crowd but also for the judges. These performances are also quite large and consequently thoroughly entertaining but their highly coloured textures are all completely justified within the context of the characters relationships and the dog show competition. Performance decisions are never made because the needs of the cinema audience have been taken into account. The actors' decisions for their characters are always motivated from within the character's world.

Thus it is not the drama of the dog show that holds our interest it is the detail of these people's lives. So each of these scenes is like a workshop improvisation linked by a common event.

Actors Take Heart
Best in Show is a fine example of the fact that well-balanced believable performances based on good acting process carry a very functional, engaging, entertaining and dramatic tension of their own.

© The Rehearsal Room 2001. All rights Reserved. www.rehearsalroom.com

SOME SIMPLE EXERCISES TO CONSIDER.
It would in fact be a good analytical exercise for you to label the dramatic tensions which exist between the characters. It is these tensions which keep us watching. In addition a good practical exercise would be to set up some improvisations which recreate similar dramatic tensions. Generally speaking there is only one device per scene. For example the two television comperes' relationship is based entirely on Buck Laughlin (FRED WILLARD) endeavouring to humorously attract attention to himself while Trevor Beckwith (JIM PIDDOCK) continuously tries politely to not support him in that goal. This device is used over and over to great effect.

See if you can build some impros around similar devices.

Copyright © The Rehearsal Room 2001. All rights Reserved.