Key Moments
Charles Dance: Actor | Full Q&A at The Oxford Union
Oxford UnionKey Moments
Charles Dance's acting career began unexpectedly after overcoming a stammer, leading him from art school to the Royal Shakespeare Company and iconic roles like Tywin Lannister, emphasizing the necessity of 'need' over 'want' in acting.
Key Insights
Charles Dance developed a stammer at age 13, which significantly impacted his confidence and aspirations for acting until his late teens.
He trained with Leonard Bennett for two years, focusing on Shakespeare and Shaw, before joining the Royal Shakespeare Company.
Dance believes the acting profession requires a 'need to be an actor,' not just a 'want,' due to its inherent heartbreak and constant rejection.
He describes his approach to acting as making 'a silk purse out of a pig's ear,' meaning he can elevate less-than-perfect scripts or roles.
Despite the acclaim for Tywin Lannister, Dance states that his character's death at the hands of his son on the toilet was a fitting end.
Dance agrees that the acting industry has seen a cultural shift where private life significantly impacts careers, a phenomenon amplified by social media.
Overcoming a stammer to discover a passion for acting
Charles Dance's path to acting was far from conventional, beginning with a severe stammer that developed around age 13 and persisted until his late teens. This debilitating speech impediment made him intensely self-conscious, stifling any early inclinations towards performing. He navigated his adolescence with a need to carefully construct complex sentences to avoid words he feared would trigger his stammer, effectively killing any youthful desire to 'show off.' It wasn't until he was around 18 or 19, during his first year at art school, that his stammer began to subside, allowing him to engage more freely. This newfound ease led him to a college theatre group, where his journey into acting truly began. He contrasts this with the common adolescent struggles of acne or disruptive behavior, highlighting how deeply his stammer affected him.
The formative influence of Leonard Bennett
Dance's pursuit of acting led him to seek guidance from Leonard Bennett, a speech coach he learned about from a friend who attended RADA. Bennett, who looked like Samuel Beckett and ran his lessons from a smoke-filled pub and a small back room, identified a 'closed throat' in Dance, predicting a 'long job.' Their training involved rigorous work through Shakespeare and Shaw, with Bennett assigning extensive memorization, such as learning all of Marc Antony's lines from 'Julius Caesar' within a week. This intense, unconventional tutelage, lasting two years, was crucial in shaping Dance's vocal technique and performance capabilities. He also worked with Bennett's partner, Martin, who had experience with the Berliner Ensemble, further enriching his understanding of theatrical craft. Dance expresses deep gratitude for these two individuals, recognizing them as remarkable mentors.
From graphic design to the Royal Shakespeare Company
Initially studying graphic design and photography at art school in Leicester, Charles Dance harbored no immediate ambitions for acting. He was inspired to pursue acting after encountering a friend who was vocally passionate about Shakespeare and heading to RADA. Realizing that formal routes to acting were not widely known to him, coming from a working-class background, he sought out Bennett. After his intensive training with Bennett, Dance joined the Royal Shakespeare Company, a significant stepping stone that established him as a serious classical actor before he transitioned to screen roles. This progression demonstrates a deliberate, albeit initially uncertain, shift from a visual arts discipline to the dramatic arts.
The actor's need versus want and embracing the 'pig's ear'
Dance stresses that a successful acting career requires a 'need to be an actor,' not merely a 'want.' This distinction acknowledges the profession's inherent difficulties, including constant rejection and emotional toll. He admits to being a 'workhorse' who couldn't afford to wait for perfect roles, often having to make 'a silk purse out of a pig's ear' – essentially elevating less-than-ideal scripts or characters through performance. This philosophy suggests a pragmatic approach, recognizing that good actors can imbue even flawed material with substance, making it functional and compelling, even if not ideal.
Navigating typecasting and the modern industry
While known for playing authoritative, often villainous characters like Tywin Lannister, Dance acknowledges the reality of typecasting but insists on finding ways to bring nuance to similar roles or refusing to repeat himself. He notes that the current landscape, with numerous streaming services, offers an 'enormous amount of work' and that the industry is healthier for actors than it has been in a long time, despite a potential increase in 'not such good stuff.' He also touches on the increasing importance of production values and cinematography, which can sometimes overshadow acting itself in serial television, though he praises the cinematic quality of 'Game of Thrones.'
Tywin Lannister's death and character
Dance considers Tywin Lannister's death at the hands of his son, Tyrion, on the toilet, to be a fitting end for the character. He acknowledges that Tywin, while a man of principles, was ultimately a deeply flawed and perhaps 'misguided' figure. He expressed that, as himself rather than Tywin, he would be immensely proud of Peter Dinklage's portrayal of Tyrion and would apologize for the harsh things Tywin said to him, recognizing Dinklage's personal journey and immense talent. This highlights Dance's ability to separate his personal views from his character's actions and his respect for his fellow actors.
The evolving actor-audience relationship
Discussing the blurring lines between the artist and their art, Dance agrees that private actions can significantly impact an actor's career, especially with the pervasive influence of social media, which he largely avoids. He believes that actors perform best when they can draw upon their own emotional libraries, recalling personal experiences to give depth to their characters. However, he notes that remarks made in private life can unfortunately lead to public scrutiny and career repercussions, a trend amplified by the modern media landscape. He has personally experienced his phone number being hacked, illustrating the intrusive nature of celebrity privacy issues.
Reflections on 'Game of Thrones' and the joy of acting
Dance admits to being 'underwhelmed' by the final season of 'Game of Thrones,' noting a perceived lack of a strong conclusion, a sentiment shared by cast members he reunited with at his daughter's wedding. Despite his extensive career and the option of retirement, he continues to act because he 'still gets a big buzz out of it.' He finds joy in working with younger actors, appreciating their initial enthusiasm, and feels a strong sense of belonging within the acting community, likening it to finding 'his people' from his early days in theatre. The thrill of a successful performance, even with its potential for both adulation and criticism, continues to drive him.
Mentioned in This Episode
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Common Questions
Charles Dance developed a stammer around age 13 which significantly impacted his confidence. He worked with a speech therapist and later with a coach named Leonard Bennett, who helped him overcome it through rigorous practice and learning to use his voice effectively, particularly with Shakespeare.
Topics
Mentioned in this video
Cited as a place where sit-ins occurred during the cultural revolution of the 1960s.
Charles Dance was a member before his screen debut, and it's mentioned as a prestigious acting institution.
The institution Charles Dance's friend intended to attend, representing a path into professional acting.
The repertory theater where Leonard Bennett and Martin met.
The theater company where Martin, Charles Dance's coach's partner, had worked.
The actors' union, mentioned in the context of the high unemployment rate within the acting profession.
Mentioned as an example of actors whose sons might have an easier path into acting, implying a perception of nepotism.
Mentioned alongside John Mills as an example of established actors whose sons might have easier access to acting careers.
Martin, Leonard Bennett's partner, is described as looking like Alberto Brecht.
Mentioned as an actor involved in the phone hacking scandal, impacting the media landscape for public figures.
Plays Cersei Lannister in Game of Thrones and is Charles Dance's on-screen daughter; he attended her wedding.
Compared to a friend of Charles Dance's from his youth, describing the friend as looking like a young Marlon Brando.
An actor who starred in 'Mank', playing the lead role, and whose dedication to takes was discussed.
Charles Dance describes his acting coach, Leonard Bennett, as looking like Samuel Beckett.
Mentioned in the context of the phone hacking scandal and its impact on actors' careers.
Mentioned as having been married in the church where Leonard Bennett is buried.
The author of 'A Song of Ice and Fire', the book series that inspired Game of Thrones.
An actress from Game of Thrones, mentioned alongside Sophie Turner as having started at a young age.
A speech coach who worked with Charles Dance for two years, helping him overcome his stammer and learn acting.
The screenwriter of 'Citizen Kane', whose story was the subject of the film 'Mank'.
Plays Tyrion Lannister in Game of Thrones. Charles Dance praises him and discusses their characters' relationship.
A character from Shakespeare's Julius Caesar that Charles Dance was tasked with learning and performing.
Author of 'The Raj Quartet', upon which the series 'The Jewel in the Crown' was based.
Charles Dance's iconic character from Game of Thrones, known for his authority and villainous presence.
An actress from Game of Thrones, mentioned as having grown up on the show.
A highly regarded director Charles Dance has worked with, known for his meticulous approach to filmmaking.
Director of 'Citizen Kane', a film for which Joe Mankiewicz was the screenwriter.
An actor from Game of Thrones whom Charles Dance considers one of his favorite people.
A play Charles Dance performed in, related to the historical inspirations for Game of Thrones.
One of Charles Dance's recent projects, highlighting his continued presence in prominent productions.
A past project of Charles Dance's, mentioned as an example of his extensive television work.
A Shakespearean play that Charles Dance studied under Leonard Bennett's tutelage.
Martin was working on his own translation of this work, even in his old age.
A show where Charles Dance played the Witch Hunter, noted for his impactful performance in a single episode.
Charles Dance discusses his role as Tywin Lannister and the show's impact and legacy.
A James Bond film featuring Charles Dance, representing his early film career.
A 1982 series Charles Dance starred in, described as the 'Game of Thrones of its day' and still popular among fans.
A film directed by David Fincher in which Charles Dance played William Randolph Hearst.
One of Charles Dance's film roles, showcasing his range beyond dramatic television series.
A film by Laurel and Hardy that Charles Dance recalls, humorously relating it to his feeling of being at Oxford.
A project Charles Dance directed, highlighting his work behind the camera as well as in front of it.
Charles Dance mentions them as early influences and recalls their film 'A Chump at Oxford'.
A film where Charles Dance appeared in a single scene, praised for his ability to convey energy efficiently.
A play Charles Dance performed in, which shares thematic similarities with 'The Wars of the Roses' and Game of Thrones.
A Netflix series Charles Dance appeared in, mentioned alongside Game of Thrones and The Sandman.
The first film Charles Dance worked on with director David Fincher.
A classic film whose screenwriter, Joe Mankiewicz, was the subject of the film 'Mank'.
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