Key Moments
David Haig | Full Q&A at The Oxford Union
Oxford UnionKey Moments
Veteran actor David Haig argues that comedic acting demands the same seriousness as dramatic roles, and that the most profound acting often blurs the lines between art and artist.
Key Insights
Haig finds that "maniacal angst" and "incandescent fury" are personal sources of comedy, a finding he believes is common among comic actors who identify their unique catalysts for humor.
He emphasizes that treating comedy with the same "intense seriousness" as dramatic roles, like King Lear, is crucial for its success, citing Michael Frayn's plays as an example where characters' predicaments are taken with utmost gravity.
Sitcom acting in front of a live audience is described as the "most difficult form of performance" because it requires balancing the need for audience laughter with the intimate demands of on-camera acting.
Haig began writing because he wanted to "paint the picture itself rather than be part of the bigger entity," enjoying the balance between the extroverted nature of acting and the private, interior experience of writing.
He believes that in stage acting, there's a greater sense of freedom than in film because the actor has more control over the performance each night, with the audience as a necessary collaborator.
When discussing the separation of art and artist, Haig posits that it's difficult to fully separate them, as actors draw on their own emotions and memories, leading to an inevitable overlap with their personal experiences.
The serious business of comedy
David Haig discusses the intriguing connection between his personality and the roles he's cast in, particularly noting how his "maniacal angst" has been a lucrative source of income. He clarifies that while this angst is accessible professionally, it's not a dominant feature of his personality. Haig posits that both anger and angst, along with incandescent fury, are potent catalysts for comedy, a sentiment he believes many comic actors share. He draws a parallel to other comic actors like Jack Dee or Pierce Quigley, who utilize "dryness" and "affected indifference" as their comedic vehicles. This perspective challenges the notion that comedy is inherently lighter than drama, setting the stage for his assertion that all acting requires a profound commitment. This reveals that the emotional states often perceived as negative can be powerful tools for eliciting laughter, provided they are accessed and channeled effectively by the performer, suggesting a sophisticated understanding of human emotion is key to comedic success.
Treating comedy with Shakespearean gravity
Haig strongly advocates for treating comedic roles with the same "intense seriousness" as dramatic ones. He uses the example of his experience in the musical Mary Poppins, where Julian Fellowes's book charted the descent into despair and redemption of George Banks, describing it as "almost Shakespearean or Greek" in its depth. This serious approach, he argues, is essential when performing fast-paced comedies, like Michael Frayn's plays, where the humor is derived from the characters' desperate attempts to achieve their goals. The moment this "intense integrity" is compromised, the humor is lost. This approach underscores that effective comedy often stems from high stakes and genuine character struggles, rather than from overt attempts to be funny. It implies that understanding the character's motivations and predicament with the utmost seriousness is paramount for comedic impact.
The challenges of sitcom acting
The actor details the unique difficulties of performing in sitcoms recorded in front of a live audience, describing it as the "most difficult form of performance" he has encountered. He explains that it's a hybrid form where actors must simultaneously project to the back row of the auditorium, an instinct ingrained from theatre, while also being acutely aware of the camera capturing close-ups. This requires a constant internal negotiation, as the natural inclination to "reach the back row" can lead to "overacting massively" for the camera. The live audience provides an immediate "kick of getting the live laughs," but the recorded performance is for posterity, creating a complex dynamic. This highlights the delicate balance required for actors in live-audience sitcoms, where they must cater to immediate audience reaction without sacrificing the subtlety demanded by the medium of television.
Writing as a complementary creative outlet
Haig explains that he began writing as a way to "paint the picture itself rather than be part of the bigger entity" solely as a performer. He found the balance between acting and writing incredibly satisfying, particularly in his younger years when acting provided an outlet for his extroverted personality. Writing, conversely, offered a "private, interior experience" where he could focus on refining dialogue, even if his family playfully bore witness to his late-night script revisions. As he's aged, he notes that acting can become harder, with a diminishing "blithe confidence," making the structured process of writing an even more valued pursuit. This reflects a desire for creative control and a multi-faceted artistic expression, where writing complements acting by allowing for a deeper, more personal engagement with storytelling.
The paradox of youthful experiences
David Haig reflects on how his unconventional youth, including time spent on a kibbutz and living in Denmark, influenced his choice of profession. He shares a formative experience of being expelled from public school and finishing his A-levels in Oxford, where he encountered the flamboyant Ed Green, nephew of Graham Greene, who ran a unique educational establishment. This period, coupled with his later experiences abroad, seems to have fostered a "sort of off-kilter perception of the world" that he believes benefits his artistic sensibilities. He also briefly mentions qualifying as a Danish drainage layer, a testament to the diverse life experiences that shape his perspective. These diverse life experiences, seemingly disparate from acting, are presented as foundational elements that contribute to his unique artistic viewpoint and ability to portray varied characters.
Art history and visual arts as foundational influences
Haig expresses a profound love for the arts, particularly visual arts and art history, which he considers to be where he finds "most peace and fulfillment." While he acknowledges that music is vital for many, he would choose visual art if forced to select one to take to a desert island. He believes that his general appreciation for the arts profoundly affects his perception of his work as an actor and writer. This deep connection to visual art influences his creative process, offering a different lens through which to understand storytelling and character development. This deep appreciation for visual arts suggests that Haig draws inspiration from a broad spectrum of creative disciplines, enriching his understanding of composition, form, and emotional expression, which then informs his acting and writing.
Greater freedom on stage than on film
In personal reflection, Haig feels he experiences "greater freedom on stage than on film." He attributes this to the numerous external controls in filmmaking—editing, cuts, and the finalization of shots—which can significantly alter an actor's contribution. He recalls a telefilm he wrote, "My Boy Jack," where a crucial line for a senior actress was filmed on him, diminishing her role, a loss of control that doesn't occur in film. On stage, however, the performance "shifts every night," and the actor, in collaboration with the audience, feels more able to express themselves through the character, leading to a more potent and free performance. This distinction highlights the ephemeral and collaborative nature of theatre, where the actor retains agency over their performance each night, fostering a sense of direct connection and unmediated expression absent in the more controlled environment of film production.
The inseparable nature of art and artist
Haig grapples with the question of whether art and the artist can be separated, ultimately concluding that it is "not ultimately" possible. He elaborates that acting, in particular, involves "sourcing your own emotions, memories, what you're made of as a personality and a person," which inevitably leads to an overlap. He recounts a profound personal experience during a play where his father died, and he momentarily saw his father's hand instead of his own during a scene, a powerful instance of personal grief bleeding into performance. He also touches on actors like Daniel Day-Lewis, who draw deeply from personal experiences, suggesting that the most impactful performances often arise from this fusion of the artist's inner life with the character's portrayal. This suggests that the most compelling artistic expressions often emerge from a deeply personal place, where the artist's lived experiences and emotional landscape become integral to the work, making a complete separation of art and artist a complex, if not impossible, endeavor.
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An actor's personality can significantly shape their casting. The speaker notes that their portrayal of 'maniacal angst' has led to roles in sexual comedy and general comedy, suggesting that specific emotional access points can become a professional vehicle.
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Mentioned in this video
Writer of 'Gosford Park' and the 'Downton Abbey' saga, who wrote the book for the musical 'Mary Poppins'.
Director mentioned as giving the illusion of spontaneity and freedom, but his scripts are precise and developed through improvisation.
A comic actor mentioned as an example of using dryness as a source of humor.
Writer of 'The Madness of King George III', mentioned as having a cohesive work of genius.
A friend of the speaker who has written a book on Shakespearean comedy, using affected indifference as a source of humor.
Character in 'Mary Poppins' whose descent into despair and redemption are charted in the musical's book.
A playwright known for fast-paced plays, one of which, 'Donkey's Years', the speaker performed in.
An actor cited as an example of an emotional force in acting, who experienced personal events bleeding into his roles.
Nephew of the author Graham Greene, who ran a college in Oxford where the speaker finished his A-levels.
Playwright of 'Hitchcock Blonde', a play the speaker performed in the West End.
A saga written by Julian Fellowes, mentioned in relation to his writing for the musical 'Mary Poppins'.
A television series the speaker was asked about, known for its unique improvisational and fast-paced filming style.
A TV series the speaker is historically known for, which was filmed in front of a live audience.
A play performed by the speaker in the West End, during which his father died.
A musical the speaker participated in, with the book written by Julian Fellowes, charting the descent and redemption of George Banks.
A play by Michael Frayn that the speaker performed in the West End.
A work by Julian Fellowes, mentioned in relation to his writing for the musical 'Mary Poppins'.
A play mentioned in the context of filming for National Theatre Live, highlighting the pressure of performing for posterity.
A play the speaker performed in, praised for its portrayal of insanity with humanity, gentleness, and wisdom.
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