22.
03.
2023.
Department
Acting
Acting
That was the beginning - a challenge to myself which turned into a passion and a profession. Jakub Gierszał was a guest of Łukasz Maciejewski's classes for the 3rd and 4th year students of acting.
The actor was born in 1988 and graduated from the State Higher School of Theatre in Krakow in 2012 alongside Mateusz Kościukiewicz, Katarzyna Zawadzka, Marcin Kowalczyk and Dawid Ogrodnik. Łukasz Maciejewski, lecturer and initiator of meetings with guests at the Acting Department of the Lodz Film School called them "An outstanding class of students."
Jakub Gierszał made his debut in ALL THAT I LOVE, dir. Jacek Borcuch, and then in YUMA, dir. Piotr Mularuk. Łukasz Maciejewski emphasized how consistent Jakub is in following his career path and asked him about its beginnings.
“It was a special time. I grew up in Toruń and wanted to get out of there. For me, acting was the 'ultimate challenge' - that's what I associated exams with i.e. facing up to the challenge and overcoming one’s limitations and inhibitions. And it was an inner necessity. I had no idea what I could do in this profession later. I've always wanted to work in film."
In an honest conversation during which Gierszał discussed how the rigid framework in which art education operates paradoxically does not always help talent, he was nevertheless encouraging to students.
“In Krakow, the system was ossified. These were external means, even those to do with the skills like working with the voice or with the body. Everything was very outdated, unsuitable for the modern world and cinema, which was being created then and was looking for a living man and emotions. I had the impression that we were being taught how to play 19th-century theatre. This was my biggest pain. When I acted along those lines, it was fine. And when I did it my way, the professor said that I was too natural on stage. I thought she was joking! I thought that being natural was what it was all about!”
The role of Dominik in the SUICIDE ROOM, dir. Jan Komasa brought him real success and recognition, which, as was emphasized, he had to face. You cannot prepare yourself for popularity, and psychological support is very important in this profession and it is worth taking advantage of it.
Motivations to take up the profession of an actor are always individual and working on stage or in front of the camera is also associated with a large dose of solitude and self-reliance in polishing those skills.
“Loneliness is a huge component of this profession. There are many moments when you have to pull yourself together, set a goal for yourself and reach for it yourself. It's fun in a group, but you have to face the role alone."
However, artistic education, which was mentioned many times in the conversation, is not only a necessity, but it makes sense. It allows you to get away, motivates you to develop, gives you an impulse for further action and attending auditions.
“In this profession, like a litmus paper, we are very much soaked in the times we live in. While a writer or director may be timeless, an actor is very much dependent on the 'here and now'." Education? It is primarily self-learning of your own skills.
“I approach life and profession holistically – the way we are as people will be reflected on stage. There is definitely something similar to James Dean’s style - you have to live your life to maximum, expand your experiences to give them back later. But you definitely need to broaden your horizons in a human way when it comes to empathy towards people and the world. We should try to understand why we act the way we do, because we do many things intuitively. Self-awareness and self-cognition have a positive effect on role building. A big part of my job when there is no work constitutes working on myself. And it means something different to everyone."
The conclusion came naturally – “there is nothing else in this profession than action. One must work".
Practice in initiating emotions on stage appeared later in the meeting behind closed doors. And let its effects be an impulse for further action and following the path of self-development.
ed. and photos Małgorzata Lisiecka-Muniak
Jakub Gierszał made his debut in ALL THAT I LOVE, dir. Jacek Borcuch, and then in YUMA, dir. Piotr Mularuk. Łukasz Maciejewski emphasized how consistent Jakub is in following his career path and asked him about its beginnings.
“It was a special time. I grew up in Toruń and wanted to get out of there. For me, acting was the 'ultimate challenge' - that's what I associated exams with i.e. facing up to the challenge and overcoming one’s limitations and inhibitions. And it was an inner necessity. I had no idea what I could do in this profession later. I've always wanted to work in film."
In an honest conversation during which Gierszał discussed how the rigid framework in which art education operates paradoxically does not always help talent, he was nevertheless encouraging to students.
“In Krakow, the system was ossified. These were external means, even those to do with the skills like working with the voice or with the body. Everything was very outdated, unsuitable for the modern world and cinema, which was being created then and was looking for a living man and emotions. I had the impression that we were being taught how to play 19th-century theatre. This was my biggest pain. When I acted along those lines, it was fine. And when I did it my way, the professor said that I was too natural on stage. I thought she was joking! I thought that being natural was what it was all about!”
The role of Dominik in the SUICIDE ROOM, dir. Jan Komasa brought him real success and recognition, which, as was emphasized, he had to face. You cannot prepare yourself for popularity, and psychological support is very important in this profession and it is worth taking advantage of it.
Motivations to take up the profession of an actor are always individual and working on stage or in front of the camera is also associated with a large dose of solitude and self-reliance in polishing those skills.
“Loneliness is a huge component of this profession. There are many moments when you have to pull yourself together, set a goal for yourself and reach for it yourself. It's fun in a group, but you have to face the role alone."
However, artistic education, which was mentioned many times in the conversation, is not only a necessity, but it makes sense. It allows you to get away, motivates you to develop, gives you an impulse for further action and attending auditions.
“In this profession, like a litmus paper, we are very much soaked in the times we live in. While a writer or director may be timeless, an actor is very much dependent on the 'here and now'." Education? It is primarily self-learning of your own skills.
“I approach life and profession holistically – the way we are as people will be reflected on stage. There is definitely something similar to James Dean’s style - you have to live your life to maximum, expand your experiences to give them back later. But you definitely need to broaden your horizons in a human way when it comes to empathy towards people and the world. We should try to understand why we act the way we do, because we do many things intuitively. Self-awareness and self-cognition have a positive effect on role building. A big part of my job when there is no work constitutes working on myself. And it means something different to everyone."
The conclusion came naturally – “there is nothing else in this profession than action. One must work".
Practice in initiating emotions on stage appeared later in the meeting behind closed doors. And let its effects be an impulse for further action and following the path of self-development.
ed. and photos Małgorzata Lisiecka-Muniak