{"id":227032,"date":"2019-08-16T01:18:37","date_gmt":"2019-08-16T05:18:37","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=227032"},"modified":"2019-08-16T01:18:37","modified_gmt":"2019-08-16T05:18:37","slug":"gyllenhaal-attributes-conquering-fear-to-oscar-winning-doc","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2019\/08\/16\/gyllenhaal-attributes-conquering-fear-to-oscar-winning-doc\/","title":{"rendered":"Gyllenhaal attributes conquering fear to Oscar winning doc"},"content":{"rendered":"
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Gyllenhaal admits that nervousness extended to the rehearsal room. But then he found confidence in an unlikely place. (File Photo<\/a>: jakegyllenhaal\/Instagram<\/a>)<\/figcaption><\/figure>\n

NEW YORK \u2060\u2060\u2014\u00a0Few performances are as daunting as the one-person play.<\/p>\n

That’s why Jake Gyllenhaal had to find a way to conquer that fear when he took on the role of Abe in the second half of \u2060\u2060”Sea Wall\/A Life.\u2060\u2060”<\/p>\n

\u2060\u2060”Before I did it, I was terrified,\u2060\u2060”\u00a0Gyllenhaal said of \u2060\u2060”A Life,\u2060\u2060”\u00a0after the play’s Broadway opening. Tom Sturridge stars in \u2060\u2060”Sea Wall,\u2060\u2060”\u00a0the other half of the pair of one-act monologues.<\/p>\n

Gyllenhaal admits that nervousness extended to the rehearsal room. But then he found confidence in an unlikely place. The story of Alex Honnold’s 3,000-foot (914-meter) climb of the El Capitan rock formation at Yosemite National Park.<\/p>\n

\u2060\u2060”I was sort of quaking in my boots thinking about it. Then I saw ‘Free Solo,’ that documentary about the free climber Alex Honnold that won the Academy Award. Amazing, amazing documentary, and I thought to myself, if he can do that without any rope I can do a monologue. And then that was it,\u2060\u2060”\u00a0Gyllenhaal said.<\/p>\n

From then on, it was smooth sailing.<\/p>\n

It was a little different for Sturridge. \u2060\u2060”I feel like weirdly – like before I walk on stage I feel fear. But I feel safest on the stage,\u2060\u2060”\u00a0Sturridge said.<\/p>\n

Both actors say the lack of an onstage partner to play off of can add to the stress; there isn’t a safety net if you blow a line. But Sturridge uses the audience.<\/p>\n

\u2060\u2060”Normally when you’re on stage you’re pretending to be in a room and pretending like you’re in Russia and 1920s and you’re pretending the audience don’t exist. But with this, I’m having a conversation with real people who are different every night. And if I blow a line, then we just change the conversation,\u2060\u2060”\u00a0Sturridge said.<\/p>\n

\u2060\u2060”Sea Wall\/A Life,\u2060\u2060”\u00a0a pair of plays written by Nick Payne and Simon Stephens, respectively are tragic comedies that deal with love and loss.<\/p>\n

Gyllenhaal says the emotional value shifts with each audience.<\/p>\n

\u2060\u2060”It’s very emotional through all of it. But it changes every night. It’s different. Sometimes I’m telling the story, I’m just telling it. Sometimes things happen. Sometimes I hear someone in the audience have an emotional response. He was laughing or crying, and it makes me feel something,\u2060\u2060”\u00a0he said.<\/p>\n

\u2060\u2060”Sea Wall\/A Life\u2060\u2060”\u00a0plays on Broadway at the Hudson Theater until Sept. 29.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

NEW YORK \u2060\u2060\u2014\u00a0Few performances are as daunting as the one-person play. That’s why Jake Gyllenhaal had to find a way …<\/p>\n","protected":false},"author":33,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-227032","post","type-post","status-publish","format-standard","category-entertainment","mauthors-john-carucci","mauthors-the-associated-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/227032","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/33"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=227032"}],"version-history":[{"count":1,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/227032\/revisions"}],"predecessor-version":[{"id":227034,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/227032\/revisions\/227034"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=227032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=227032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=227032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}