why is it okay for actors who stage shows about themselves

this week, I watched an actors tell their story and I have comments.

People often say, “acting is easy.” I strongly disagree. Coming from an arts school and dabbling in acting myself, I can attest that it is far from easy. Acting is not just about memorizing lines, projecting your voice, maintaining stillness, and being present in the moment. It is much more than that; it involves creating an entire world, researching the character, and making informed choices based on the actor's vision of that world. Acting demands emotional vulnerability, openness, and honesty.

This brings me to my topic today: the clear distinction between authenticity and honesty in acting. My professor, Chris, likes to say there is a line between what’s real and what’s true. So, when an actor decides to do a play about themselves, my eyebrow raises. I believe every actor needs to be deeply in love with themselves to jump into the competitive and cut-throat world of acting. But the question we must ask is: Are their stories worth telling?

While I am no expert, I have seen enough of these plays to know a thing or two about what works and what doesn't. Whether it is Siti Kalijah’s raw performance of "An Actress Prepares," Margaret Leng Tan's rendition of "Dragon Ladies Don’t Weep," or Ricky Sim's Standup special, "Coming Out to Dead People.", all these plays stand out to me because they osciliate seemlessly whats real and what is true with so much rawness, vulnerability and self-awarness.

So when I caught "Clowns Like Us," a one-man off-Broadway play that “fearlessly confronts the challenges of living with autism spectrum disorder, OCD, bipolar disorder, social anxiety, and depression,” I was excited to see important issues being spotlighted. Unfortunately, it felt very masturbatory, shallow, and forced. I believe that when doing autobiographical solo plays, the actor must connect and create a piece rooted in truth while also producing work that dissociates themselves from the play, treating it like fiction. Scott Ehrenpreis, while attempting to lay himself bare, fell into the trap of focusing on overtly unimportant details and stories of his life that had potential but fell short and undeveloped. His piece ended up not truly reflecting his struggles or who he is at his core. Ehrenpreis diluted his performance with listicles, very online-available information about mental health, and shallow naming of his experiences without real depth or reflection.

It might be an unkind (even, asshole) move to criticize someone’s journey into mental health, but as an audience member watching an autobiographical piece, are we even allowed to judge someone’s story? I have no qualms with his story itself; my issue lies with how much potential it had that ultimately fell short.

So, when asking, "When is it okay for an actor to subject an audience to a biography of their life?" it's crucial to avoid blind spots in storytelling. As a performer, approach it as a work of fiction if you are performing fiction. Take that step and that divide. No matter how much you want something to be real and true, on the stage, you want it to be truthful but not necessarily real.

Why It’s Okay for Actors to Stage Shows About Themselves ?m

Don’t get me wrong, I believe there is something inherently powerful about an actor sharing their own story on stage. This type of performance allows for a raw and unfiltered connection between the performer and the audience, fostering a unique sense of intimacy and authenticity. When done well, autobiographical shows can transcend the personal and tap into universal themes, resonating deeply with audiences and offering a mirror through which they can see parts of their own lives reflected. They remind us that every individual has a story worth telling, and these stories can be just as compelling and significant as any grand epic or classical play.

But is it okay for actors to stage shows about themselves in a way that leads to catharsis and healing for them? This type of personal recounting can be therapeutic, helping actors process and understand their own lives better. Where do we, the audience, fit into this? Sometimes it feels like we are on this journey with them but left out of the process. Yes, it might be important to the actor, but these details are not always important to us as the audience. Why should we care?

That being said, witnessing such performances can also offer a sense of catharsis for the audience. Seeing someone else's vulnerability and courage on stage can inspire us to confront and share our own stories, fostering a sense of community and shared human experience.

So whilst I look at this empty theatre, forced laughter, and awkwardness in the room. I have come to the conclusion that in these type of plays, the challenge lies in striking the right balance between self-indulgence and meaningful storytelling. Autobiographical performances must be crafted with both deep rawness to the self and detached self-awareness. One must ask themselves not just what they want to share, but why they want to share it. What do they hope to achieve through this performance? How can their story contribute to a broader conversation or understanding? I believe by keeping these questions in mind, actors can ensure that their autobiographical shows are not only personal but also powerful and impactful; They should be structured in a way that highlights the universal themes and emotions that others can relate to. This requires a level of self-awareness and discipline from the performer, as they must be willing to edit and refine their narrative, focusing on the elements that will resonate most strongly with their audience.