In one or another copy of the play with its particular annotations, I came across a note that argues the line "a poor player" suggests an unskilled performer. It seems legitimate that it can also be spoken to suggest an actor who may be well recieved, yet is still hapless in his life. Either way, its an ironic line to be said by the character of a play that bears his name and purportedly tells his tale. It seems both aware of the theatre, and of the world in one breath.
I can not say that I am not afraid to some extent of failing expectations and of appearing to be that very poor player who struts and then is heard no more. I feel my one means of escaping such a doom, is to play the part in and out through my skin. I was speaking with a colleague the other day, and he said verse requires both technical as well spiritual facility. I agree with this colleague of mine. The words have to be heard and understood, and inspired into the imaginations of the audience.
I am realizing that character must come out of instinct, which requires building an instinct or harnessing it, so that life on the stage is not thought through so much as lived through. Another colleague of mine feels that Mac is the one character who reacts entirely and is completely a product of his circumstance, and that the actor playing him need only live, and that he makes no decisions. I don't agree that Mac doesn't make decisions. He very much does, and very much pays for them. But I do agree that he is behaving as only Mac behaves. The words can really be bent to do anything as long as there is existence and focus into the scene. If you play a person who differs from yourself in some way, you must find your way into the life of that person that then does allow you to hold up a mirror to nature so fully. You can then allow yourself to really and simply say the words with out any premeditation. The goal would be that the audience is not watching an actor who plays Mac, but Mac himseld. Then you can have the capacity to not plan your performance and live in the moment in manner that is ever truthful.
In this light, I might be freed from any preconcieved interpretation or connection to any kind of proior performances, and then truly be might able to live the character as entirely my own. But this sort of acting, it does require a great deal more bravery and a great great deal more preparation.