💢Laurence Olivier(로렌스 올리비에)💢第 (제) 9篇(편)💢

[올림픽문방구]

💢Laurence Olivier(로렌스 올리비에)💢第 (제) 9篇(편)💢

Laurence Olivier(로렌스 올리비에).

Poster for Stanley Kubrick's  Spartacus, one of two films in which Olivier appeared in 1960.

Two films featuring Olivier were released in 1960. The first—filmed in 1959—was Spartacus, in which he portrayed the Roman general, Marcus Licinius Crassus. His second was  The Entertainer, shot while he was appearing in  Coriolanus; the film was well received by the critics, but not as warmly as the stage show had been.The reviewer for  The Guardian  thought the performances were good, and wrote that Olivier "on the screen as on the stage, achieves the tour de force of bringing Archie Rice ... to life". For his performance, Olivier was nominated for the Academy Award for Best Actor. He also made an adaptation of  The Moon and Sixpence  in 1960, winning an  Emmy Award.

The Oliviers' marriage was disintegrating during the late 1950s. While directing Charlton Heston  in the 1960 play  The Tumbler, Olivier divulged that "Vivien is several thousand miles away, trembling on the edge of a cliff, even when she's sitting quietly in her own drawing room", at a time when she was threatening suicide. In May 1960 divorce proceedings started; Leigh reported the fact to the press and informed reporters of Olivier's relationship with Plowright. The  decree  nisi  was issued in December 1960, which enabled him to marry Plowright in March 1961.A son, Richard, was born in December 1961; two daughters followed, Tamsin Agnes Margaret—born in January 1963—and actress Julie-Kate, born in July 1966.

In 1961 Olivier accepted the directorship of a new theatrical venture, the Chichester Festival. For the opening season in 1962 he directed two neglected 17th-century English plays, John Fletcher's 1638 comedy  The Chances  and  John Ford's 1633 tragedy  The Broken Heart, followed by  Uncle Vanya. The company he recruited was forty strong and included Thorndike, Casson, Redgrave, Athene Seyler, John Neville  and Plowright.The first two plays were politely received; the Chekhov production attracted rapturous notices. The Times  commented, "It is doubtful if the  Moscow Arts Theatre  itself could improve on this production." The second Chichester season the following year consisted of a revival of  Uncle Vanya  and two new productions—Shaw's  Saint Joan  and  John Arden's  The Workhouse Donkey.In 1963 Olivier received another BAFTA nomination for his leading role as a schoolteacher accused of sexually molesting a student in the film  Term of Trial.

National Theatre 1963–1968

At around the time the Chichester Festival opened, plans for the creation of the National Theatre were coming to fruition. The British government agreed to release funds for a new building on the South Bank  of the Thames. Lord Chandos  was appointed chairman of the National Theatre Board in 1962, and in August Olivier accepted its invitation to be the company's first director. As his assistants, he recruited the directors  John Dexter  and  William Gaskill, with  Kenneth Tynan  as literary adviser or "dramaturge". Pending the construction of the new theatre, the company was based at the Old Vic. With the agreement of both organisations, Olivier remained in overall charge of the Chichester Festival during the first three seasons of the National; he used the festivals of 1964 and 1965 to give preliminary runs to plays he hoped to stage at the Old Vic.

The opening production of the National Theatre was Hamlet  in October 1963, starring  Peter O'Toole  and directed by Olivier. O'Toole was a guest star, one of occasional exceptions to Olivier's policy of casting productions from a regular company. Among those who made a mark during Olivier's directorship were  Michael Gambon, Maggie Smith, Alan Bates, Derek Jacobi and  Anthony Hopkins. It was widely remarked that Olivier seemed reluctant to recruit his peers to perform with his company. Evans, Gielgud and  Paul Scofield  guested only briefly, and Ashcroft and Richardson never appeared at the National during Olivier's time. Robert Stephens, a member of the company, observed, "Olivier's one great fault was a paranoid jealousy of anyone who he thought was a rival".

In his decade in charge of the National, Olivier acted in thirteen plays and directed eight. Several of the roles he played were minor characters, including a crazed butler in  Feydeau's  A Flea in Her Ear  and a pompous solicitor in  Maugham's  Home and Beauty; the vulgar soldier Captain Brazen in  Farquhar's 1706 comedy  The Recruiting Officer  was a larger role but not the leading one.

Apart from his Astrov in the Uncle Vanya, familiar from Chichester, his first leading role for the National was Othello, directed by Dexter in 1964. The production was a box-office success and was revived regularly over the next five seasons. His performance divided opinion. Most of the reviewers and theatrical colleagues praised it highly; Franco Zeffirelli  called it "an anthology of everything that has been discovered about acting in the past three centuries." Dissenting voices included  The Sunday Telegraph, which called it "the kind of bad acting of which only a great actor is capable ... near the frontiers of self-parody"; the director  Jonathan Miller  thought it "a condescending view of an Afro Caribbean person".[217] The burden of playing this demanding part at the same time as managing the new company and planning for the move to the new theatre took its toll on Olivier. To add to his load, he felt obliged to take over as Solness in  The Master Builder  when the ailing Redgrave withdrew from the role in November 1964. For the first time Olivier began to suffer from  stage fright, which plagued him for several years. The National Theatre production of  Othello  was released  as a film  in 1965, which earned four Academy Award nominations, including another for Best Actor for Olivier.

During the following year Olivier concentrated on management, directing one production (The Crucible), taking the comic role of the foppish Tattle in Congreve's  Love for Love, and making one film, Bunny Lake is Missing, in which he and Coward were on the same bill for the first time since  Private Lives. In 1966, his one play as director was  Juno and the Paycock. The Times  commented that the production "restores one's faith in the work as a masterpiece". In the same year Olivier portrayed the  Mahdi, opposite Heston as  General Gordon, in the film  Khartoum.

In 1967 Olivier was caught in the middle of a confrontation between Chandos and Tynan over the latter's proposal to stage Rolf Hochhuth's  Soldiers. As the play speculatively depicted Churchill as complicit in the assassination of the Polish prime minister  Władysław Sikorski, Chandos regarded it as indefensible. At his urging the board unanimously vetoed the production. Tynan considered resigning over this interference with the management's artistic freedom, but Olivier himself stayed firmly in place, and Tynan also remained. At about this time Olivier began a long struggle against a succession of illnesses. He was treated for  prostate cancer  and, during rehearsals for his production of Chekhov's  Three Sisters  he was hospitalised with pneumonia. He recovered enough to take the heavy role of Edgar in  Strindberg's  The Dance of Death, the finest of all his performances other than in Shakespeare, in Gielgud's view.

1968–1974

Olivier had intended to step down from the directorship of the National Theatre at the end of his first five-year contract, having, he hoped, led the company into its new building. By 1968 because of bureaucratic delays construction work had not even begun, and he agreed to serve for a second five-year term. His next major role, and his last appearance in a Shakespeare play, was as  Shylock  in  The Merchant of Venice, his first appearance in the work. He had intended Guinness or Scofield to play Shylock, but stepped in when neither was available. The production by Jonathan Miller, and Olivier's performance, attracted a wide range of responses. Two different critics reviewed it for  The Guardian: one wrote "this is not a role which stretches him, or for which he will be particularly remembered"; the other commented that the performance "ranks as one of his greatest achievements, involving his whole range".

In 1969 Olivier appeared in two war films, portraying military leaders. He played Field Marshal French  in the First World War film  Oh! What a Lovely War, for which he won another BAFTA award,followed by Air Chief Marshal  Hugh Dowding  in  Battle of Britain. In June 1970 he became the first actor to be created a peer for services to the theatre. Although he initially declined the honour, Harold Wilson, the incumbent prime minister, wrote to him, then invited him and Plowright to dinner, and persuaded him to accept.

1960年(년)에 Olivier(올리비에)가 出演(출연)한 두 映畫(영화) 中(중) 하나인 Stanley Kubrick(스탠리 큐브릭)의 spartacus(스파르타쿠스) poster(포스터).

Olivier(올리비에)가 登場(등장)하는 두 篇(편)의 映畫(영화)가 1960年(년)에 開封(개봉)되었습니다. 1959年(년)에 撮影(촬영)된 첫 番(번)째 映畫(영화)는 spartacus(스파르타쿠스)로 그가 Rome(로마) 將軍(장군) Marcus Licinius Crassus(마르쿠스 리키니우스 크라수스)를 演技(연기)했습니다. 그의 두 番(번)째 作品(작품)은 The Entertainer(엔터테이너)로, 그가 Coriolanus(코리올라누스)에 出演(출연)하는 동안 撮影(촬영)되었습니다. 映畫(영화)는 評論家(평론가)들로부터 좋은 評價(평가)를 받았지만 舞臺(무대) 쇼(show)만큼 따뜻하지는 않았습니다. The Guardian(守護者수호자)의 評論家(평론가)는 公演(공연)이 훌륭하다고 생각했으며 Olivier(올리비에)는 "舞臺(무대) 위에서 처럼 screen(스크린)에서도 Archie Rice(아치 라이스)를 ...에 生命(생명)을 불어넣습니다." 그의 演技(연기)로 Olivier(올리비에)는 Academy(아카데미) 男優主演賞(남우주연상) 候補(후보)에 올랐습니다. 그는 또한 1960年(년)에 Moon and Sixpence(문과 6펜스)를 脚色(각색)하여 Emmy(에미賞(상)을 受賞(수상)했습니다.

Olivier(올리비에)의 結婚生活(결혼생활)은 1950年代(년대) 後半(후반)에 崩壞(붕괴)되었습니다. Olivier(올리비에)는 1960年(년) 戲曲(희곡) The Tumbler(텀블러)에서 Charlton Heston(찰턴 헤스톤)을 監督(감독)하면서 自殺(자살)을 威脅(위협)할 때 "Vivien(비비앙)이 thousands of miles(數千(수천마일) 떨어진 곳에서 自身(자신)의 應接室(응접실)에 조용히 앉아 있어도 絶壁(절벽) 가장자리에서 떨고 있다"고 暴露(폭로)했습니다. 1960年(년) 5月(월)에 離婚(이혼) 訴訟(소송)이 始作(시작)되었습니다. Leigh(리)는 言論(언론)에 事實(사실)을 報告(보고)하고 記者(기자)들에게 Olivier(올리비에)와 Plowright(쟁기질)의 關係(관계)를 알렸습니다. 1960年(년) 12月(월) nisi(니시) 法令(법령)이 發表(발표)되어 1961年(년) 3月(월) Plowright(쟁기질)와 結婚(결혼)할 수 있었습니다. 아들 Richard(리차드)는 1961年(년) 12月(월)에 태어났습니다. 1963年(년) 1月生(월생)인 Tamsin Agnes Margaret(탐신 아그네스 마가렛)과 1966年(년) 7月生(월생)인 女俳優(여배우) Julie-Kate(줄리-케이트)의 두 딸이 그 뒤를 이었습니다.

1961年(년) Olivier(올리비에)는 새로운 演劇(연극) venture(벤처)인 Chichester Festival(치체스터 페스티벌)의 監督職(감독직)을 受諾(수락)했습니다. 1962年(년) 開幕(개막) season(시즌)에 그는 두 篇(편)의 放置(방치)된 17世紀(세기) 英國(영국) 演劇人(연극인) John Fletcher(존 플레처)의 1638年(년) 戲劇(희극) The Chances(機會기회)와 John Ford(존 포드)의 1633年(년) 悲劇(비극) The Broken Heart(부서진 마음)에 이어 Vanya(바냐) 三寸(삼촌)이 演出(연출)했습니다. 그가 募集(모집)한 會社(회사)는 40名(명)이었으며 Thorndike(손다이크), Casson(카손), Redgrave(레드그레이브), Athene Seyler(아테나 실러), John Neville(존 네빌) 및 Plowright(쟁기질)가 包含(포함)되었습니다. 처음 두 演劇(연극)은 淨衆(정중)하게 받아들여졌습니다. Chekhov(체호프) production(프로덕션)은 熱狂的(열광적)인 注目(주목)을 받았습니다. Times(타임스)는 "Moscow Arts Theatre(모스크바 藝術劇場(예술극장) 自體(자체)가 이 作品(작품)을 改善(개선)할 수 있을지 疑問(의문)입니다."라고 論評(논평)했습니다. 다음 해 두 番(번)째 Chichester Season(치체스터 시즌)은 Vanya(바냐) 三寸(삼촌)의 復活(부활)과 Shaw(쇼)의 Saint Joan(세인트 조안)과 John Arden(존 아덴)의 The Workhouse Donkey(作業場(작업장) 당나귀)의 두 作品(작품)으로 構成(구성)되었습니다. 映畫(영화) 裁判(재판) 期間(기간).

國立劇場(국립극장) 1963年(년)–1968年(년).

Chichester Festival(치체스터 페스티벌)이 열릴 즈음에는 國立劇場(국립극장) 建立(건립) 計劃(계획)이 結實(결실)을 맺기 始作(시작)했다. 英國(영국) 政府(정부)는 Thames River Southbank(템스 江(강) 사우스뱅크)에 새 建物(건물)을 짓기 위한 基金(기금)을 마련하기로 했습니다. Chandos 경(찬도스卿(경)은 1962年(년)에 National Theatre Board(國立劇場委員會(국립극장위원회)의 會長(회장)으로 任命(임명)되었으며 8月(월)에는 Olivier(올리비에)가 劇團(극단)의 初代(초대) 理事(이사)로 招待(초대)를 受諾(수락)했습니다. 助手(조수)로서 그는 監督(감독) John Dexter(존 덱스터)와 William Gaskill(윌리엄 가스킬)을 雇用(고용)했고 Kenneth Tynan(케네스 타이넌)을 文學(문학) 顧問(고문) 또는 "drama burst(드라마터지)"로 雇用(고용)했습니다. 새로운 劇場(극장)의 建設(건설)을 기다리는 동안 會社(회사)는 Old Vic(올드 빅)에 基盤(기반)을 두고 있었습니다. 두 組織(조직)의 同意(동의)로 Olivier는 National의 처음 세 시즌 동안 Chichester Festival의 全體(전체) 責任(책임)을 맡았습니다. 그는 1964年(년)과 1965年(년)의 祝祭(축제)를 使用(사용)하여 그가 Old Vic에서 上演(상연)하기를 希望(희망)하는 演劇(연극)을 豫備(예비) 上映(상영)했습니다.

國立劇場(국립극장)의 開幕作(개막작)은 1963年(년) 10月(월)에 Peter O'Toole(피터 오툴)이 主演(주연)하고 Olivier(올리비에)가 監督(감독)한 Hamlet(햄릿)이었습니다. O'Toole(오'툴)은 guest star(게스트 스타)였으며 正規會社(정규회사)에서 production(프로덕션)을 casting(캐스팅)하는 Olivier(올리비에)의 政策(정책)에 가끔 例外(예외)였습니다. Olivier(올리비에)의 監督職(감독직)을 맡는 동안 큰 成果(성과)를 거둔 人物(인물)로는 Michael Gambon(마이클 갬본), Maggie Smith(매기 스미스), Alan Bates(앨런 베이츠), Derek Jacobi(데릭 자코비), Anthony Hopkins(안소니 홉킨스)가 있습니다. Olivier(올리비에)가 同僚(동료)를 募集(모집)하여 會社(회사)와 함께 公演(공연)하는 것을 꺼린다는 意見(의견)이 널리 퍼졌습니다. Evans(에반스), Gielgud(길구드) 및 Paul Scofield(폴 스코필드)는 간단히 guest(게스트)로 參席(참석)했으며 Ashcroft(애쉬크로프트)와 Richardson(리처드슨)은 Olivier(올리비에) 時代(시대)에 national(내셔널)에 나타나지 않았습니다. 會社(회사)의 一員(일원)인 Robert Stephens(로버트 스티븐스)는 "Olivier(올리비에)의 한 가지 큰 缺點(결점)은 그가 rival(라이벌)이라고 생각하는 사람에 對(대)한 偏執症的(편집증적)인 嫉妬(질투)였습니다."라고 말했습니다.

national(내셔널)을 맡은 10年(년) 동안 Olivier(올리비에)는 13篇(편)의 演劇(연극)에 出演(출연)했고 8篇(편)을 監督(감독)했습니다. 그가 맡았던 役割(역할) 中(중) 一部(일부)는 Feydeau(페도)의 A Flea in Her Ear(그女(녀)의 귀에 벼룩)의 crazy butler(미친執事(집사)와 Maugham(謀陷(모함)의 Home and Beauty(家庭(가정)과 美容(미용)의 倨慢(거만)한 辯護士(변호사)를 包含(포함)하여 端役(단역)이었습니다. Farquhar(파르콰르)의 1706年(년) 喜劇人(희극인) The(그만큼) 募集將校(모집장교)에서 低俗(저속)한 軍人(군인) Captain Brazen(캡틴 브레이즌)은 더 큰 役割(역할)이었지만 主演(주연)은 아니었습니다.

Chichester(치체스터)에서 親熟(친숙)한 Vanya(바냐) 三寸(삼촌)의 Astrov(아스트로프)와는 別途(별도)로 National(國立국립)에서 그의 첫 主演(주연) 役割(역할)은 1964年(년) Dexter(덱스터)가 監督(감독)한 Othello(오셀로)였습니다. production(프로덕션)은 興行成功(흥행성공)을 거두었으며 다음 season 5(5시즌) 동안 定期的(정기적)으로 復活(부활)했습니다. 그의 公演(공연)은 意見(의견)을 나누었습니다. 大部分(대부분)의 評論家(평론가)와 演劇界(연극계) 同僚(동료)들은 極讚(극찬)을 아끼지 않았다. Franco Zeffirelli(프랑코 제피렐리)는 이 冊(책)을 "지난 3世紀(세기) 동안 演技(연기)에 關(관)해 發見(발견)된 모든 것에 對(대)한 選集(선집)"이라고 말했습니다. 反對(반대) 목소리 包含(포함).

[올림픽문방구]

이승철~목 2021-07-15 오후 6:14 양 선생님 참으로 귀한 자료를 잘 봣습니다. 언제나 감사 합니다.......