Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu The Best Actor for the Role, or the Mythos of Casting in American Popular Performance Casting — the process whereby actors are assigned to particular roles — has largely eluded historical and theoretical inquiry. Casting’s iterative impact lends it a peculiar ephemerality. Once a role is cast, the complex array of criteria informing that decision — not only the methods and techniques of talent assessment but also the interpersonal dynamics, rumors, reputations, and “business” considerations — recedes in importance as the work of performance-making ostensibly begins. Indeed, despite its inarguable centrality in the performance-making project, the inevitably idiosyncratic sequence of events that comprise the process of how this or that actor did (or did not) get the part routinely evades the archive. I contend that such archival evasions are enabled by what we might call a “mythos of casting,” a constellation of interconnected beliefs and assumptions that have evolved within American popular performance over the last century or so. This “mythos of casting” cloaks within mystery the historical practices – by turns material, creative and proprietary – that guide how an actor’s labor is (and is not) valued as a commodity. This “mythos of casting” simultaneously provides ideological rationale for the acknowledged inequities in the allocation of the paid and unpaid labor of actors while also sustaining faith that the apparatus of casting can (and sometimes actually does) work to identify the “best” actor for a given role. The “mythos of casting” also guides most academic conversations about casting, which typically operate within one of three discursive modes: the logistical, the (non) traditional, and the mystical.[1] Logistical discourses of casting might be found most frequently on the “practice” side of the theory-practice divide in theatre studies, with conversations about how to audition (or how to run auditions) eliciting conversation and study in the acting studio, the production meeting, or the rehearsal hall. Such discussions, and the written works engaging them, typically rehearse, explicate or strategize the nuances of disparate audition structures, and are often guided by the premise of “entering the profession.”[2] Traditional — or, more aptly, “Non-Traditional” — discussions emphasize how casting operates as a mode of what scholar Angela Pao calls “both social action and artistic exploration” in which the assignment of a particular actor to a role might “dislodge established modes of perceiving,” perhaps especially with regard to the enactment of cultural identity in performance.[3] Both the logistical and non-traditional discourses of casting prioritize how practitioners might intervene in casting’s machinery to achieve particular ends. By contrast, the third discourse of casting, perhaps the most ubiquitous of the three, fixates on casting as an almost mystical process that defies easy explanation. Such “mystical” accounts arrive in a variety of formulations but always with a fascination for a kind of magic at play within casting decisions. Some such accounts emphasize the “special sight” of creative intuition wherein an ineffable mix of circumstance, luck and discernment combine to guide the director (or teacher, or casting director, or whoever) to the inspired insight that a particular actor is “right” for the role. Often responding to what Joseph Roach describes as “the easy to perceive but hard to define quality possessed by abnormally interesting people” sometimes referred to as “it,”[4] this response informs an inspired confidence like that described by producer Arthur Hornblow recalling his casting Marilyn Monroe in her first featured film role, “As soon as we saw her we knew she was the one.”[5] 1 / 11 Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu Other mystical accounts proffer casting as a kind of alchemical mastery, usually on the part of the genius director, in which art manifests from a deftly assembled configuration of actors. As film director John Frankenheimer famously quipped “casting is 65% the battle.” Director Martin Scorsese later upped the ante, noting that “More than 90 percent of directing is the right casting,” while a recent textbook Fundamentals of Film Directing offered a more conservative assessment, noting that “Casting is 50% of the director’s work.”[6] Casting’s mystical discourses also take fantasy form in the myriad speculative fictions spun within the “what if” scenarios rehearsed in discussions of “miscasting.” From sensational lists like “12 Actors Who Almost Had the Part” and “What If? ‘Pulp Fiction’ Near-Miss Casting” to entire books dedicated to Hollywood’s All-Time Worst Casting Blunders, the fantastic genre of the “what if” casting tale stands among the most recurring in popular performance lore. [7] Most mystical discourses of casting, however, fixate upon the moment an actor is assigned a role as the signal moment wherein the magic of performance is conjured. Indeed, while logistical and non-traditional discourses of casting propose strategic interventions into the casting process, mystical discourses instead marvel at the ineffability of casting, fetishize the shrouds of secrecy that sustain casting’s unknowable mysteries, and wonder at the transformative power summoned by whoever happens to be the one deciding which actor is to become the role. Mystical discourses of casting hint that mere mortals can never truly know why this or that actor got the part and imply that occasional peeks behind the casting curtain will only ever reveal a partial story. These mystical discourses suggest that some greater power is at work in both the methods and madnesses of casting, and that ours is not to wonder why. The many mysteries of casting might explain why the topic of casting remains so captivating to so many. Indeed, casting’s purported unknowability — that no one can never truly know how casting happens — incites the most passionate conversations about the process, whether in speculative games about who would be better in the role, or in moments of aesthetic outrage (or schadenfreude) over miscasting, or in impassioned outbursts of sometimes politicized fervor within critiques of incidents of exploitation, exclusion or unfairness in casting. Yet, even in such incisive and searching conversations, most assessments of casting controversies resolve with shrugging demurrals or simple judgments of the sort proffered by the author of one best-selling theatre appreciation textbook, who writes “There is good casting and bad casting and, of course, there is also inspired casting.”[8] The persistence of some version of this reductive good/bad/inspired matrix in even the most sophisticated conversations about casting might well reflect some awareness of the many interpersonal, proprietary, and contractual complexities that all factor into the invisible calculus guiding any casting decision. (Can anyone inside or outside the process ever really, truly or fully know why someone got a part?) Even so, this recurring fixation places too much emphasis on casting’s unknowability (its “mystery”) with too little attention to the power at play in any casting decision. As the default resolution for any and every conversation about casting, the good/bad/inspired matrix both sustains the mysterious power of casting even as it also contributes to the ongoing mystification of the material practices of casting — the mechanisms, techniques and assumptions routing the process to that final casting decision — rendering such practices beyond the archive and thus exempt from historical analysis. To discern casting’s archive and thus evince its history, performance historians and theorists might explicate the three principles most routinely invoked to explain, excuse or justify the capricious operations of the casting apparatus: equitable access to opportunity, artistic autonomy, and meritocratic achievement. Over the last century or so, these contradictory premises have come to operate in dynamic 2 / 11 Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu tension as a “mythos of casting,” which simultaneously sustains creative faith in the capacity of the casting apparatus to identify the best actor for a given role even as it cloaks the material practices of casting in mystery. As I take up each of these principles — equity, artistry, meritocracy — in turn below, I briefly detail how each principle guided the formation of the contemporary repertoire of casting practices as I also chart the enduring conceptual contours of the “mythos of casting.” Equity The peculiar notion that casting should be fair appears to have emerged from two distinctively twentieth century points of origin. On the one hand, the growing power of actor unions within the industries capitalizing on American popular performance amplified particular questions of equity. On the other, the extraordinary and rapid expansion of educational theatre programs at the secondary, post-secondary and pre-professional level intensified concerns about access. Over time, the belief that the casting process should be equitably accessible to all eligible or deserving performers became one of the guiding ideals of the American casting process and a foundational tenet of the mythos of casting. Concerns about fair and equitable access instigated the formation of actor unions in the United States in the nineteenth