Jannes Erasmus, South African Actor, and Writer Surges Forward Relentlessly

The first time Jannes Erasmus set foot on stage was in his pre-school concert where he had to sing in front of 500 people. He had to do so looking like Popeye and eating a Spinach. From there on Jannes has never gone a year without returning to the stage. The first big role that he played must have been the lead, Allan, in Equus that the University presented in 2011.

@artslinkcoza reviews #Smaarties at the @CTFringe @AlexanderBarCT http://t.co/FjIXIAAX1T
Tonight we open with #Still pic.twitter.com/snPwCfDml4

— Jannes Erasmus (@Jannes_Erasmus) September 29, 2015

indieactivity: Did you study acting?
Jannes Erasmus (JE): I did. I studied Drama for 4 years in Pretoria. I want to tell stories, I want to make a difference in the world so when I was in grade 3 I told my Mom, I don’t think I will be a Doctor one day, maybe on the TV or in the theatre, but not in thát theatre. My first drama coach was Amanda Jansen van Vuuren who is still to date one of my biggest supporters and inspirations, we are doing a radio drama together next year. My mentors and role models during my studies were David Brink and Kingdom Moshounyane, both Kovsies graduates. The things these two giants taught me are worth much more than any institution could ever have taught me. About 10% of what I do as a theatre practitioner today was taught to me at university, the best way to nurture your craft is to be out in the field, gain experience by going to festivals and never stop dreaming.

SAND (Woordfees 2014) is written by Jannes Erasmus and directed by Quintin Wils Directed by Quintin Wils

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What acting technique do you use?
Jannes Erasmus (JE): I use one of Stanislavski’s methods for achieving the truthful pursuit of a character’s emotion, called the “Magic If.” You are required to ask many questions about your character and yourself. Through the “Magic If”, you are able to identify your and your characters’ positions in the plot. One of the first questions you have to ask was, “What if I were in the same situation as my character?” Another variation on this is “What would I do if I found myself in this (the character’s) circumstance?” The “magic if” allowed actors to transcend the confinements of realism by asking them what would occur “if” circumstances were different, or “if” the circumstances were to happen to them. By answering these questions as the character, the theatrical actions of the actors would be believable and therefore ‘truthful.

What wrong impressions do actors hold about acting?
Jannes Erasmus (JE): First of all, it is not easy. Especially funding. I specialize in Theatre and when you create your own work you use your own money. You are not necessarily an actor if you can remember lines, that is the minimum requirement in the field. You CAN be a successful artist without having to study drama but you need to do an acting course to define your technique and style. Never doubt yourself if they cast someone else after you gave the best audition of your life, it happens every day. Most people are cast because of a certain look, not necessarily their acting ability. Be nice to the people in the industry, you might be working with them on the next project. Stop trying to please everyone, you will lose your authenticity, be bold, be brave, and be you.

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Do you take courses to improve your craft?
Jannes Erasmus (JE): Whenever I have the time I do attend workshops. It’s important to gain information about what is the latest trends and styles in the industry. The best way to improve your craft is through experience. Go to festivals, support theatre productions, and ask questions afterward. With my shows, I have 2-3 student nights where they have the chance to ask you whatever they’d like to know regarding the show, writer, director, actors, etc.

What acting books do you read?
Jannes Erasmus (JE): I’m not much of a reader, to be honest. The more practical something is the more interested I am. We are living in the 21st century, techniques and tutorials are available on the Internet, you can teach yourself a new accent, experiment with make-up tips, and even upload your own version of a Shakespeare monologue (if you really need to.) Go see shows, write your own ‘report’/’crit’ afterward and read how accurate you were by comparing that to the write-ups of the show.

How do you keep fit as an actor?
Jannes Erasmus (JE): Smaarties is the most physical and mental straining production I have ever done. The costume is restricted to a white pair of boxers so I need to be in tip-top shape for every show. I go to the gym, you have to look good in order to feel good and your body is your instrument. Mentally, mentally you must have lost it when you do a show about a schizophrenic man. I am a family man. Whenever I get a chance to go home to my parents and three brothers, I do so. My dad is a qualified chef and a huge role model for me, my mom is my best friend and supports me every step of the way, my brothers keep me humble because to them you’re not a celebrity, you’re the guy they want to play cricket with, take a spin in your car and show you inappropriate videos of people falling. My family is my escape.

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When you’re offered a role, what do you do next?
Jannes Erasmus (JE): You say thank you ;). When you are offered a role be sure to read the script before making any promises to anyone. Don’t ever commit to a project that you don’t feel comfortable putting your name on. You will be remembered for your last performance, keep that in mind. At the same time, you also need to be brave and push boundaries. You’re an artist, make a difference. Leave a legacy or die trying.

How do you take a character in a script into an honest, believable, and breathing person?
Jannes Erasmus (JE): The ‘magic if’ technique of Stanislavski that I referred to earlier is how I create my characters. This is also a safer way than method acting or emotional recall according to me. Although I have used emotional recall as well, the most important part of ANY technique that you use is to understand it; not only what to do but why you do it; how you apply it and how do you get out of it (emotionally). Stay true to your character. Create your own back story if it is not provided. Form a person, breathe life into those words and realize that you are presenting someone else’s life on stage. Be true and you’ll be fine.

How do you stay fresh on set?
Jannes Erasmus (JE): People often forget that acting is a profession. You need to be driven, focused, and motivated. Nothing ever runs according to plan or schedule and that is life. You have to be professional and maintain yourself physically and mentally. Eat, sleep, perform.

Describe a memorable character you played?
Jannes Erasmus (JE): Allan Strang in the production of Equus. This was a very memorable character because it’s a two-and-a-half-hour play with about 40 scenes in which the character had speaking parts in 37 of those scenes. I was in my second year. There was smoking involved, sex scenes, intimate kissing and various emotions to be portrayed truthfully. I believe that this was the one character that I played that shifted all my ‘comfort zone’ boundaries.

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Explain one creative choice you took on set
Jannes Erasmus (JE): When I wrote my first script ‘SAND’ the first stage direction said ‘the stage is covered with sand.’ Covered, merely meant 480 kg of sand to me and that was amazing and also extremely hard work.

What do you want most from a director?
Jannes Erasmus (JE): Creativity, honesty, and trust. You become the puppet and he/she the puppet master. You have to be comfortable with each other in order to feel ‘safe’ when you push boundaries. I have worked with a lot of directors but Quintin Wils stands out in this regard. Being brutally honest, pushing boundaries, and letting you feel safe in that environment makes the process much more enjoyable and motivates you to exceed all expectations.

What actors do you long to work with?
JE: Nicola Hanekom

Why?
JE: The Iron Lady of theatre. She’s not only an actor, she writes, directs, produces, and plays. She has this mysterious aura, with eyes that grasp and demands attention. She’s not only pushing boundaries but also breaking them. She wowed audiences all over SA with her site-specific theatre and walked away with one award after the other. I look up to people who have their own vision, who drives their passion, and who will be humble enough to make time for me as a youngster.

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What advice would you give to actors?
JE: Never stop dreaming. My mother once said ‘the only boundaries in your life are the ones that you set for yourself. Try to make a difference; we are in a fortunate position to have access to so many audiences. Tell your story, stop pleasing people, create your own work, stay humble, stop complaining and start being that change you want to see in the world.

Briefly write about your career

• Boesman – Boesman. My seun (lead actor)
• Allan Srang – Equus (lead actor)
• Romeo – INtussenIN (lead actor)
• Johan – Aasvoëls (lead actor)
• SAND – (Writer & Producer) National Arts Festival and Woordfees. 12-month run.
• ONSkuld – (Writer & Actor) Naledi Award nominee for Cutting Edge Theatre.
• Smaarties – (Writer, Actor & Producer) Naledi Award nominee for Cutting Edge Theatre. Naledi Award nominee for Best Newcomer to theatre. Woordtrofee nominee for best production. Krêkvars arts festival nominee for best production. PANSA writer’s award winner at the National Arts Festival. 19-month run, still not done.
• Suster – (Writer) Follow up of Smaarties. National Arts Festival and 969 Festival. Still running.
• STILL – (Writer, Actor, Producer, and Director) premiered at the Cape Town Fringe Festival and will be showing at the Woordfees’16. Still running.
• Each of these productions is very close to my heart seeing that they form part of who I am today.

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