The secret to Viola Davis’ acting technique: “The cat is just being a cat”
There are no limits to the talents of Viola Davis, with the actor possessing an innate power and emotional depth that has led to some of the most captivating performances of all time. From her monumental work in the hit series How to Get Away with Murder to her Tony Award-winning role in Seven Guitars and films such as Doubt, Fences, and Ma Rainey’s Black Bottom, the actor has forged a career as one of the most influential people in the business. She’s one of the few to win the coveted EGOT crown and is a crucial voice within the movement towards equality for women of colour in Hollywood. It is hard to convey the cultural and cinematic impact of her career, becoming a lasting creative inspiration and trailblazer for change in the film industry.
While many people have intensely analysed her work and each detail of her performances, many actors are incredibly secretive and elusive when discussing their approach to the craft. But, surprisingly, Davis has a rather simple philosophy towards acting that might just be the trick behind her stellar performances.
David Mamet is one of the most revered modern playwrights, responsible for penning plays such as Glengarry Glen Ross, which was adapted for the screen in 1992, the same year as House of Games, and The Spanish Prisoner, which was screen-adapted in 1997. He’s made a name for himself for his unique approach towards performance, often sharing his strict philosophy towards acting and his firm stance against traditional acting methods, instead emphasising the importance of natural physicality and dialogue.
In a world full of extreme method actors and Hollywood celebrities who need ice baths and green juices to embody a character, Davis has adopted a similarly stripped-back approach to her craft, which was inspired by an unlikely comparison Mamet made between actors and a certain household pet.
When discussing her acting method, Davis said, “Human life is about a culmination of moments, and 99% of those are quiet but powerful. I am always interested and intrigued with watching that.” She then cited an idea formulated by Mamet, saying, “If you’re looking at an actor onstage with a cat, who are you going to look at, the actor or the cat? The cat, because the cat is just being a cat.”
It’s a surprisingly simple comparison that somehow puts the entire craft into perspective, highlighting that we are drawn towards that which is unpredictable yet completely instinctual, without any second-guessing or self-consciousness. We find ourselves most drawn to performers who possess an innate electricity and sense of surprise, always moving in unpredictable ways, with the audience hanging on their every word and waiting with bated breath to see what they will do next.
The actors who move in this way are often the most captivating, becoming almost irresistible in how they occupy space and allow their instincts to rule their performance. The process of acting simply melts away as they embody the character and let their impulses take over. Thus Davis, having adopted this approach, has become the most enigmatic and mesmerising actor of her generation.
