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“That’s why it’s interesting coming back now and getting into a rehearsal room and going: ‘This is why I did it.
I’d forgotten.’ I’m having a really amazing epiphany doing this, and I think I’ll be a different actor when I come out of it.” Buy tickets to The Crucible from Telegraph Box Office.
You know to an extent Method acting feels occasionally lazy. That’s the difference, and that was the thing with the waterboarding.
I was in a stress position today before we worked, which enabled me to play the scene [we were doing] without having to do any acting. I wanted to experience it for a millisecond so that I could know exactly what it felt like.” For all its physical extremities, though, it’s a very different role to the tough guys that Armitage has expressed a desire to escape from.
The Crucible is at the Old Vic, London until 13 Sept.
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Yael is cooking something which at the moment feels like it’s - and should be - too hot to handle.” Armitage is a noticeably calm presence but he talks with passion.
I ask him how it feels to be facing The Crucible’s agonising climax over and over for the next couple of months.
“You can’t play this story without addressing sexuality in this particular society in this time, the masculinity of the men, the femininity of the women, the vulnerability of prepubescent girls.
“I haven’t seen any of them but I’ll take your word for it,” he says. I know what Twitter is, I don’t use it, I don’t use Facebook, so luckily it does zero to my ego.” His unwillingness to share his private life with the press has led to rumours about his sexuality.
I ask him if, in the era of tabloid witch hunts, those in the public eye live with a fear that one day they’ll wake up to find that they’ve become the story, and whether this means having to censor parts of his character in public all the time.
Can it escape that allegory and find another, I ask him.
“It’s ultimately a timeless play, I think,” says Armitage.
He says this sort of understanding is essential to his approach to acting.