50 명의 최고의 흑인 배우와 배우 (할 수있다 2024)
로렌스 올리비에 (Laurence Olivier), 브라이튼의 남작 올리비에 (Baron Olivier)라고도하는 로렌스 커 올리비에 (Laurence Kerr Olivier)는 로렌스 올리비에 (Sur Laurence Olivier)라고도 불렸다. 영국 무대와 스크린의 우뚝 솟은 인물은 20 세기의 가장 위대한 영어권 배우로서 평생 동안 호평을 받았습니다. 그는 직업의 첫 번째 사람으로 인생의 동료가되었습니다.
퀴즈
영어 구별의 남자: 사실 또는 허구?
프랜시스 드레이크 경은 스페인과의 싸움을 거부 한 것으로 악명이 높았습니다.
성공회 장관의 아들 인 올리비에 (Olivier)는 모든 성도 합창단 학교에 다녔으며, 9 살 때 셰익스피어의 줄리어스 시저 (Julius Caesar)를 축약하여 브루투스 (Brutus)로 데뷔했다. 5 년 후 그는 옥스퍼드의 세인트 에드워드 스쿨 (St. Edward 's School)에서 슈레이의 길들이기 (The Taming of the Shrew)에서 여성 책임자로 활동하면서 스트랫 퍼드 셰익스피어 페스티벌에서이 공연을 반복했습니다. 이 초기 단계의 등장은 올리비에가 직업으로 행동하도록 고려한 시대의 연극 적 주목할만한 사실에 의해 눈에 띄지 않았습니다. 처음에 그는 인도 고무 농장을 관리함으로써 그의 형의 모범을 따르기를 바라면서 그 개념을 일축했다. 그러나 지금까지 연기의 주제에 대해 애매 모호했던 그의 아버지는 젊은 Laurence가 무대 경력에 착수하도록 요구했다.
Olivier enrolled at the Central School of Dramatic Art in 1924, then began his professional career with the Birmingham Repertory Theatre Company (1926–28). In 1929 he made his first significant West End appearance, playing the title role in a staging of P.C. Wren’s Beau Geste. Also that year he made his Broadway debut in Murder on the Second Floor. Having acted in British films from 1930, he was briefly signed by Hollywood’s RKO Radio Pictures in 1931, but he failed to make much of an impression at this early date. What could have been his first Hollywood break in Metro-Goldwyn-Mayer’s Queen Christina (1933) was scuttled when star Greta Garbo vetoed Olivier as her leading man in favour of her former lover John Gilbert.
During this period Olivier broadened his acting range by tackling difficult classical roles; he also chose to accept character parts that allowed him to hide what he considered his shortcomings behind heavy makeup and false beards. As he gained confidence in himself and his craft, audiences responded positively to him. The theatre critics also liked his work—though their comments were guarded, and they often compared Olivier unfavourably with such contemporaries as John Gielgud and Ralph Richardson. He scored a significant triumph as star of an unabridged 1937 staging of Hamlet. He returned to Hollywood to play the tormented Heathcliff in Samuel Goldwyn’s production of Wuthering Heights (1939). This time around, movie audiences took notice, and Olivier’s subsequent international stardom was a fait accompli.
Exhibiting the same tenacity and dedication that distinguished his theatrical work, Olivier accumulated enough flight hours on his own to qualify for the Royal Navy Fleet Air Arm in World War II. Demobilized in 1944, he launched a new facet of his career by teaming with longtime friend Ralph Richardson to revitalize the fabled Old Vic Theatre. This assignment not only provided him the opportunity to appear in an extensive repertory of choice Shakespearean roles but also allowed him to direct, something he had been doing on a sporadic basis since the 1930s. In 1944 he also returned to film as star and director of Shakespeare’s Henry V (1944), an outstanding blend of old-fashioned theatricality and “pure” cinema that earned him a special Academy Award. He went on to star in three additional Shakespearean film adaptations, two of which he also directed: Hamlet (1948), which won him Academy Awards for both best picture and best actor; Richard III (1955), and Othello (1965), a “filmed theatre” version of his earlier stage triumph, directed by Stuart Burge. Olivier’s other movie directorial credits included The Prince and the Showgirl (1957), with Marilyn Monroe; the 1967 television movie version of Uncle Vanya; and Three Sisters (1970).
Ever on the lookout for new challenges, and eager not to be regarded as an anachronism during the British theatre’s Angry Young Men period, Olivier asked John Osborne to write a play for him. The result was The Entertainer (play 1957, film 1960), in which the actor astonished even his most ardent admirers with his shattering portrayal of pathetic end-of-pier music hall performer Archie Rice. Olivier’s list of accomplishments was further extended in 1962 when he became producer-director of the National Theatre company. To raise money for this enterprise, he accepted virtually every film role—good or bad—that came his way, and even appeared in a series of American television commercials for Polaroid cameras.
Throughout the 1960s and’70s, Olivier appeared in more than 30 films; most were forgettable, but memorable exceptions included Sleuth (1972, Oscar nomination for best actor), Marathon Man (1976, Oscar nomination for best supporting actor), the television films Love Among the Ruins (1975) and Cat on a Hot Tin Roof (1976), and the British miniseries Brideshead Revisited (1981). It was also during this period that Olivier was suddenly and inexplicably stricken with a severe case of stage fright. Even after overcoming this debility, he insisted upon “shielding” himself from the audience by retreating further into character roles, donning elaborate makeups, and adopting thick foreign accents as a form of self-protection. In his last two decades he was tormented by illness, including near-fatal bouts with thrombosis and prostate cancer. His frailties added a poignant note to his much-praised performance in the title role of King Lear (1983; made for television), his last major Shakespearean role.
Olivier published two highly-regarded volumes of memoirs, Confessions of an Actor (1984) and On Acting (1986). He was married three times, to actresses Jill Esmond, Vivien Leigh, and Joan Plowright. Knighted in 1947, he became the first actor to receive a peerage in 1970, allowing him to sit in the House of Lords. Despite these honours, he retained his essential modesty; whenever asked if he should be addressed as Sir Laurence or Lord Olivier, the actor invariably replied, “Call me Larry.” Upon his death, he became only the second actor since Edmund Kean to be interred in Poets’ Corner at Westminster Abbey.
