Before the Year Dot by June Brown

Author:June Brown [Brown, June]
Language: eng
Format: epub
ISBN: 9781471101854
Publisher: Simon & Schuster

Chapter Fifteen

On our first day at the new drama school we were given our practice costumes, which we were to wear every day. They consisted of a navy wool sleeveless top with a round neck, a pair of pants that covered the tops of our thighs, and a full-length skirt which was in two pieces. Mine was blue wool and quite warm. Some were a rather thin black material, so I was fortunate as that winter was so cold. The skirt had poppers down one side so you could have either a simple A-line skirt, or join the two parts together with the poppers to make a full skirt drawn in at the waist with a cord for period parts. We also had flat black pumps, like Greek dancing shoes.

The next day was the official opening of the school. There were about fifteen guests, and the press took photographs. Glen Byam Shaw opened the proceedings saying we were now actors – not chosen half for our talent, half to pay the fees. He was sure we could all become professionals and we would be treated as such. We must never be late, never slacken, must be able to work on our own and at the same time be light-hearted and gay. Actors are simple at heart. All truth is.

We were told the history of the formation of the Theatre Centre, of which we were a part. He told us that he wanted to create one theatre to cater for young people, and one to try out new plays and classics. We were the first students of a brand-new venture. He was not there just as the director, but also as a friend. There were opening speeches from Ellen Wilkinson, Minister of Education; Laurence Olivier; Michel Saint-Denis; and the Chairman of the Arts Council, Ernest Pooley.

Olivier spoke next about acting and how we should grow like a tree – we were young trees with branches all over and we must not turn into just one branch. You watch a tree grow steadily and evenly. Grow the roots firmly in truth and belief; it is truth and belief that matter. And we were going to learn how to present reality.

So training began – it was based on Stanislavski but modernised by Michel Saint-Denis. We were split into four sections and I was put into section one. There were thirty students altogether. We had classes in voice, singing, movement, gymnastics, fencing and the history of the theatre.

Litz Pisk took us for movement; she must have been in her fifties but she was so supple. She always wore black – a long black skirt that she’d lift the hem of in front and tuck it into her waistband so they looked like a pair of Turkish trousers. The hardest exercise was one where she showed us how to flex our knees, keeping our back completely straight until the hands could touch the floor in front and then behind. Unless you’re very young and supple you won’t find it possible.

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