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The Value of Commitment
The word, “commitment” gets bounced around pretty liberally in this society. So before we join those ranks, let’s examine the word itself. The word, “commitment” is a relatively new one, first appearing in the English language around 1611 and not being used to express a promise or a pledge until more than one hundred years later in 1793. Its root word, “commit” first popped up about 1390 as, “committen” meaning to give in charge, or to entrust. It was borrowed from the Latin, “committere” which was a joining of com – “with” and mittere – “send” or “put”. The word, “commit” is a verb. Let’s go with the first definition as found in the American Heritage dictionary, “To do, perform, or perpetrate”. The word, “commitment” is a noun. It is defined as, “The State of being bound emotionally or intellectually to a course of action. Now you know more about the word, “commitment” than you ever thought you would … you could say you are committed to it.
So, let’s think about the commitment to choices in a scene. Making a choice in any given scene, or in any given moment in a scene, is a two-part process. First the actor makes the choice, and then the actor commits to it. Many actors err by only following through with one of the two parts. They’ll make a non-specific choice and then act on it; this usually reads as emotional flailing about. Or they’ll be very specific about the choice and then never act on it; this usually reads as a mood. You need to do both parts of the process, you have to make the specific choice, and commit to it. You have to discover how you are, “bound emotionally and intellectually to a course of action”. And with apologies to the American Heritage Dictionary, I’d like to suggest that you also must commit physically. For example, you’re an actress lucky enough to have the opportunity to play Tennessee Williams profound character, Blanche Dubois. In this scene Stanley has come home from the hospital. You, (as Blanche) know that trouble is brewing, Stanley is dangerous. Now one of the hallmarks of Blanche is that she avoids the light, she prefers the kindness that shadows show to her face. So when she retreats to the bedroom to avoid Stanley she would adjust the light, bringing it down so that she can stay hidden. So at this point you’ve made a choice using your intellect: the light must be dimmed. Now you make a choice emotionally: spend some time with the light, find out how it burns Blanche to the quick. Now you want to make a choice physically: you reach for the light. Here is where understanding commitment comes in handy. You are, “bound emotionally and intellectually to a course of action”. An actor who doesn’t have a grasp on the concept of commitment might reach to turn off the light, a flick or two and maybe the light doesn’t work, this actor gives up and returns to the dialogue – this person is not, “bound” to a course of action. The actor who understands the concept of commitment will reach to turn off the light, it doesn’t work, they throw a scarf over it, still not dim enough and they crawl behind the table to pull the plug. They are clearly, “bound” to a course of action. And in doing so, they find themselves on the hands and knees in the corner just when Stanley enters the room, a very provocative image that the director is bound to take credit for. So, consider the word, understand it’s true meaning, execute its meaning in your work, and you can feel … the value of commitment.