One tough question to wrestle in acting class every year is the “it” factor. Entire shows have based on the “It Factor”. We all know it exists. It is quite easy to see someone work on stage and say, “She has it.” “She doesn’t have it.” We also know that they with “it” didn’t have to work for “it.” And those that don’t have “it” will never be able to work for “it.” We also know that the more you work for “it” the less likely you are to find “it.” Often it is given to the lazy and denied to the industrious. “It” has never been fair and never does it make sense. BUT people with “it” will go further and faster.
My theory as to what “it” is and what often gets defied a s stage presence or charisma – – is the power of flirting. I see “it” as the ability for an actor to stand on stage, no matter the role, and flirt with the audience. They do not have to look at you or talk to you – – – simply being their presence makes you feel more alive. I am expanding the definition of flirting beyond the romantic/sexual game play. I see flirting better defined as the art of being in someone’s presence and giving them the illusion that they are the center of the universe. Flirts read us so well, they instinctively make us feel better. We feel SEEN in their presence. They may be good looking or not – – actually that is not required. What is required is that everyone feels better when they walk in the room. The good flirt can never sneak in or out of a room. They STOP rooms. Often these master flirts are derided by names like “brown-nose”, “butt kisser,” and “people pleaser” But these names are often thrown out by people that unfortunately recognize their dearth in flirt energy.
The charismatic actor stand on stage and flirts. He/she flirts with acting partners, the script and ultimately the audience. We all dream of being the target of the flirt and our time in the theatre is a wonderful dream of its possibility.