by Erika Jenko
A lot of times when someone is asked what the main difference is between stage acting and film acting, the big response is, ‘Theatre is over the top and film is not.’ To which I whole-heartedly disagree.
To me, the major difference between theatre and film acting, is that theatre is a living organism that is completely influenced by the audience and actors involved and can change from performance to performance. Whereas film is carefully curated before the result is released to an audience. If a performance is over the top in theatre, I immediately zone out. No, I take it back, I loathe it. Because it’s not real. There’s a way to reach the back row with your power and it’s not being a caricature. It’s about being real.
And if you think that close-ups don’t exist in theatre, you’re missing out on the true beauty of it. Let me explain:
Close-ups are used in film to home in on a moment. It’s about a character slowly blinking their eyes, seeing a character bite their lip. etc. Recognizing the tiny nuances to tell the story in a way that can be as effective (if not more) than dialogue. You get to have these moments in theatre. Even without the cameras. Even without the intimacy of a small space. Close-ups for a theatre environment has to do with being real with your audience. Being incredibly vulnerable. And trusting them to go on this ride with you. It has to do with trusting the world you’ve built with your scene partner and creative team and being ready to roll with whatever this world throws your way. Even if a line is dropped. Even if a line delivery isn’t the same as it's been during rehearsals.
Theatre is like real life. You can rehearse it. You can prepare. But ultimately, the performance is never going to go the way you planned. It will be influenced by how you feel that day. How your scene partner feels that day. How the audience feels that day. Which is incredibly exciting. The only thing that is in your control, is knowing that character inside and out, trusting the magic of the moment and truly listening and showing up for your scene partner.
Aside from being a director, I’m a playwright. Most of the plays I write are focused on themes of mental health awareness. I’ve watched characters silently fuming with tears starting to well up in their eyes. A moment that would play beautifully in close-up, yet during a live performance, that moment could still land with the back row. I’ve seen characters very subtly exchange glances with each other and have that moment alter the trajectory of the scene in a powerful way. All of these examples require trust. Trust in the script. Trust in the director. Trust in your scene partner. But most of all trust in yourself.
In my experience interacting with people, whether it’s a stranger on the street or someone I’m getting to know, the most beautiful moments are when they have a moment of vulnerability. When they let their guard down very slightly with me. When they let me in. And when I experience that, I silently thank them for letting me in. I enjoy noticing people and I truly encourage you to notice people. Notice the woman on the subway who has a single tear dripping down her face. Notice the guy who holds his blink a split second longer when he’s exhausted. Notice all of these tiny close-up moments. Because they’re all real. They all inform you of the people you are surrounding yourself with. And all of that is beautiful.
Erika Jenko Bio
Erika Jenko is a native Californian ghoul who has been writing, directing and producing plays in Los Angeles, New York City, Chicago and Boise for the past 17 years. She is the owner and Creative Director of Windy Hallows, where she creates original theatrical productions. Erika is a haunted creature who enjoys creating worlds in the realm of magical realism and giving a voice to children navigating themes of mental health including suicide, grief, depression and anxiety.
Her work on the tragic play, “The Firefly Web” (Playwright / Director) won the awards of Best Director as well as Best Production at the 2022 SheLA Theatre Festival. “The Firefly Web” is a part of the SheNYC program, New Pages and is currently available for licensing. Erika is also a proud member of the Dramatists Guild.
Past credits include “Dex: A Killer Parody Musical,” (bookwriter), “Darling” (Playwright), “Up Here, Down There” (Co-Director, Playwright), Horrific Puppet Affair (Contributing Playwright + Director), and many more.
Erika is the creator of the storytelling group, “The Rabbit Hole Society,” which got its start in iconic mansions in the Chicago area. When she’s not creating a macabre environment for the stage, Erika can be found working on the Production Management team for Halloween Horror Nights (Universal Studios, Hollywood) where she strategically plans Halloween year-round.