Lorens Olivier - Laurence Olivier

Olivier 1972 yilda

Laurence Kerr Olivier, Baron Olivier, OM (/ˈl.rənsˈk.rəˈlɪvmeneɪ/; 1907 yil 22 may - 1989 yil 11 iyul) o'z zamondoshlari bilan bir qatorda ingliz aktyori va rejissyori edi Ralf Richardson va Jon Gielgud, hukmronlik qilgan erkak aktyorlarning uchliklaridan biri edi Britaniya sahnasi 20-asr o'rtalarida. Shuningdek, u karerasi davomida filmlarda ishlagan, ellikdan ortiq kino rollarini o'ynagan. Faoliyatining oxirlarida u televizion rollarda katta muvaffaqiyatlarga erishdi.

Uning oilasida teatr aloqalari yo'q edi, ammo Olivierning otasi, ruhoniy, o'g'lining aktyor bo'lishiga qaror qildi. Londondagi drama maktabiga borganidan so'ng, Olivier 1920-yillarning oxirlarida o'z kasbini ketma-ket aktyorlik ishlarida o'rgandi. 1930 yilda u birinchi muhim ahamiyatga ega edi West End muvaffaqiyat Noël qo'rqoq "s Shaxsiy hayot va u o'zining birinchi filmida paydo bo'ldi. 1935 yilda u taniqli ishlab chiqarishda o'ynagan Romeo va Juliet bilan birga Gielgud va Peggi Ashkroft va o'n yillikning oxiriga kelib u taniqli yulduzga aylandi. 1940-yillarda Richardson va Jon Burrell, Olivier hamraisi edi Old Vic, uni juda hurmatga sazovor kompaniya sifatida qurish. U erda Shekspirning eng taniqli rollari bor edi Richard III va Sofokl "s Edip. 1950-yillarda Olivye mustaqil aktyor-menejer edi, ammo uning sahnadagi faoliyati u qo'shilguncha kutilmaganda edi avangard English Stage Company 1957 yilda bosh rolni o'ynash uchun Ko'ngil ochuvchi, keyinchalik u o'ynagan qism filmda. 1963 yildan 1973 yilgacha u Buyuk Britaniyaning asoschi direktori bo'lgan Milliy teatr, ko'plab kelajak yulduzlarini tarbiyalagan rezident kompaniyani boshqarish. U erda o'z qismlariga bosh rol ham kiritilgan Otello (1965) va Shilok yilda Venetsiya savdogari (1970).

Olivier filmlari orasida Wuthering balandliklari (1939), Rebekka (1940) va Shekspir filmlarining trilogiyasi aktyor-rejissyor sifatida: Genri V (1944), Hamlet (1948) va Richard III (1955). Uning keyingi filmlari ham kiritilgan Spartak (1960), Baliqchining poyafzallari (1968), Sleuth (1972), Marafon odam (1976) va Braziliyalik bolalar (1978). Uning televizion chiqishlari moslashishni o'z ichiga olgan Oy va Sixpence (1960), Tunga uzoq kunlik sayohat (1973), Xarobalar orasidagi sevgi (1975), Issiq qalay tomidagi mushuk (1976), Brideshead Revisited (1981) va Qirol Lir (1983).

Olivierning mukofotlari a ritsarlik (1947), a hayot tengdoshi (1970) va Faxriy xizmat ordeni (1981). Ekrandagi ishi uchun u to'rttasini oldi Oskar mukofotlari, ikkitasi British Academy Film mukofotlari, besh Emmi mukofotlari va uchta Oltin globus mukofotlari. Milliy teatrning eng katta auditoriyasi uning sharafiga nomlangan va u yodga olinadi Laurens Olivier mukofotlari, tomonidan har yili beriladi London teatri jamiyati. U aktrisalarga uch marta uylangan Jill Esmond 1930 yildan 1940 yilgacha, Vivien Ley 1940 yildan 1960 yilgacha va Joan Pllowayt 1961 yildan o'limigacha.

Hayot va martaba

Oila va dastlabki hayot (1907-1924)

Wathen Road-dagi uy, Dorking, 1907 yilda Olivye tug'ilgan Surrey

Olivier yilda tug'ilgan Dorking, Surrey, muhtaram Jerar Kerr Olivier (1869–1939) va uning rafiqasi Agnes Luizaning uch farzandidan eng kichigi, nee Krokenden (1871-1920).^[1] Ularning katta farzandlari Sibil (1901-1989) va Jerar Dakres "Dikki" (1904-1958) edi.^[2] Uning buyuk bobosi frantsuz edi Gugenot kelib chiqishi va Olivier protestant ruhoniylarining uzoq safidan chiqqan.^[a] Jerar Olivye maktabni boshqaruvchisi sifatida ish boshlagan edi, ammo o'ttiz yoshida u kuchli diniy kasbni topdi va ruhoniy sifatida tayinlandi. Angliya cherkovi.^[4] U juda mashq qildi oliy cherkov, ritualist Anglikanizm va "Ota Olivier" deb murojaat qilishni yoqtirardi. Bu uni Anglikaning ko'pgina jamoatlari tomonidan qabul qilinishi mumkin emas edi,^[4] va unga taklif qilingan yagona cherkov postlari vaqtincha bo'lib, odatda doimiy ravishda deputatlik qilishgan amaldagi rahbarlar ular yo'qligida. Bu ko'chmanchi hayotni anglatar edi va Lorensning dastlabki bir necha yillarida u hech qachon do'stlashish uchun bir joyda uzoq yashamagan.^[5]

1912 yilda, Olivier besh yoshida bo'lganida, otasi doimiy yordamchi sifatida tayinlangan rektor da Sankt-Saviour's, Pimlico. U olti yil davomida ushbu lavozimni egalladi va barqaror oilaviy hayot nihoyat mumkin edi.^[6] Olivier onasiga bag'ishlangan, ammo sovuq va uzoq ota-onasini topgan otasiga emas.^[7] Shunga qaramay, u undan ijrochilik san'atining katta qismini o'rgangan. Yoshligida Jerar Olivye sahnaviy martaba haqida o'ylardi va dramatik va samarali va'zgo'y edi. Olivier yozishicha, otasi "qachon ovozni tashlashni, do'zax olovining xavf-xatarlari haqida qayg'urishni, qachon gagada sirpanish kerakligini, birdan sentimental mumga o'tishni bilar edi ... Kayfiyat va uslubning tez o'zgarishi meni o'ziga singdirdi va men ularni hech qachon unutmagan. "^[8]

Ichki Barcha azizlar, Margaret ko'chasi

1916 yilda Olivier bir qator tayyorlov maktablarida o'qiganidan so'ng xor maktabiga o'qishga kirish uchun qo'shiq imtihonini topshirdi. Barcha azizlar, Margaret ko'chasi, London markazida. Uning akasi allaqachon o'quvchi edi va Olivye asta-sekin o'z o'rnini egalladi, garchi u o'zini begonadek his qilsa ham.^[9] Cherkovning ibodat uslubi shunday edi (va saqlanib qoladi) Angliya-katolik, marosimlarga, kiyim-kechaklarga va tutatqilarga urg'u berib.^[10] Xizmatlarning teatralligi Olivieraga murojaat qildi,^[b] vikar talabalarni dunyoviy hamda diniy drama uchun didni rivojlantirishga undadi.^[12] Maktabda ishlab chiqarish Yuliy Tsezar 1917 yilda o'n yoshli Olivierning Brutus rolini ijro etgani tomoshabinlarni hayratga soldi Lady Tree, yosh Sybil Thorndike va Ellen Terri, uning kundaligida "Brutus rolini o'ynagan kichkina bola allaqachon ajoyib aktyor" deb yozgan.^[13] Keyinchalik u Mariya singari boshqa maktab o'quvchilarida ham maqtovga sazovor bo'ldi O'n ikkinchi kecha (1918) va Ketrin Shrewning taming (1922).^[14]

Barcha azizlardan, Olivier davom etdi Sent-Edvard maktabi, Oksford, 1920 yildan 1924 yilgacha. U o'ynagan so'nggi yiligacha ozgina belgi qo'ydi Puck maktab ishlab chiqarishida Yoz kechasi tushi; uning ijrosi, boshqa o'quvchilar orasida mashhurlikka erishgan turistik kuch edi.^[15][c] 1924 yil yanvar oyida uning ukasi Angliyadan ketib, Hindistonga rezina ekuvchi sifatida ishlaydi. Olivye uni juda sog'inib, otasidan qanchalik tez orada ergashishi mumkinligini so'radi. U esdaliklarida otasining "Bunaqa ahmoq bo'lma, sen Hindistonga emas, sahnaga chiqayapsan" deb javob berganini esladi.^[17][d]

Ilk aktyorlik faoliyati (1924-1929)

1924 yilda Jerar Olivier, odatdagidek tejamkor odam, o'g'liga nafaqat u nafaqat tan olinishi kerakligini aytdi. Nutqni tayyorlash va dramatik san'at markaziy maktabi, shuningdek, uning to'lovlari va yashash xarajatlarini qoplash uchun stipendiya bilan ta'minlanadi.^[19] Olivierning singlisi u erda talaba bo'lgan va sevimli odam bo'lgan Elsi Fogerti, maktab asoschisi va direktori. Keyinchalik Olivye, Fogerti unga imtiyoz berishga rozi bo'lganligi shundan kelib chiqqan deb taxmin qildi.^[19][e]

Peggi Ashkroft, Olivierening zamondoshi va do'sti Nutqni tayyorlash va dramatik san'at markaziy maktabi, 1936 yilda suratga olingan

Olivierning maktabdagi zamondoshlaridan biri edi Peggi Ashkroft, u "yenglari juda kalta va sochlari tik turishi bilan, lekin u juda jo'shqin va juda kulgili ekanligi bilan ancha beparvo" ekanligini kuzatgan.^[21] O'zining fikriga ko'ra, u juda vijdonli talaba emas edi, ammo Fogerti uni yoqtirdi va keyinchalik u va Ashkroft ko'plab o'quvchilari orasida ajralib turishini aytdi.^[22] Bir yildan so'ng maktabni tark etgan Olivye 1925 yilda Sybil Thordayk va uning eri tomonidan qabul qilinishidan oldin kichik sayyohlik kompaniyalari bilan ish olib bordi. Lyuis Kasson o'zlarining London kompaniyasida sahna menedjerining yordamchisi va yordamchisi sifatida.^[23] U o'zining ijro uslubini shu bilan taqlid qildi Jerald du Maurier "U sahnada ming'irlaganday tuyuldi, lekin u juda mukammal texnikaga ega edi. Men boshlaganimda men du Mauriy bilan shug'ullanish bilan band edim, hech kim bu so'zni eshitmagan edi. Shekspir aktyorlari dahshatli hamslar edi. Frank Benson."^[24] Olivier tabiiy gapirish va Shekspirning "ashula" deb atagan she'ridan qochish bilan shug'ullanganligi, uning dastlabki karerasida ko'ngilsizlikka sabab bo'lgan, chunki tanqidchilar uni etkazib berishni muntazam ravishda rad etishgan.^[25]

1926 yilda Torndaykning tavsiyasiga binoan Olivye qo'shildi Birmingem Repertory kompaniyasi.^[26] Uning tarjimai holi Maykl Billington Birmingem kompaniyasini "Olivier universiteti" deb ta'riflaydi, u erda ikkinchi yilida unga Toni Lumpkin singari muhim rollarni ijro etish imkoniyati berilgan. U g'alaba qozonishni to'xtatadi, undagi roli Vanya amaki va parollar Hammasi yaxshi.^[27] Billington qo'shilishicha, "aktyor do'sti bilan umrbod do'stlikka olib keldi" Ralf Richardson bu Britaniya teatriga hal qiluvchi ta'sir ko'rsatishi kerak edi. "^[1]

Voyaga etmaganlarning etakchisini o'ynash paytida Qo'lda qush da Royalti teatri 1928 yil iyun oyida Olivier bilan munosabatlarni boshladi Jill Esmond, aktyorlarning qizi Genri V. Esmond va Eva Mur.^[28] Keyinchalik Olivier "u, albatta, xotin uchun juda yaxshi ishlaydi ... Men o'zimning yoshimda va farqlanmagan rekordlarimda bundan ham yaxshiroq ish qilishim mumkin emas edi, shuning uchun uni darhol sevib qoldim" deb o'ylaganini aytdi.^[29]

1928 yilda Olivier Stanhope rolini yaratdi R. C. Sherrif "s Sayohatning oxiri, unda u yakshanba kuni kechqurun yagona premyerasida katta muvaffaqiyat qozondi.^[30] Unga qismni taklif qilishdi West End keyingi yil ishlab chiqarish, lekin uni yanada jozibali roli foydasiga rad etdi Beau Geste bosqichga moslashishda P. C. Rren 1929 yil shu nomli roman. Sayohatning oxiri uzoq muddatli muvaffaqiyatga aylandi; Beau Geste muvaffaqiyatsiz tugadi.^[1] Manchester Guardian "janob Lorens Olivye Bau kabi qo'lidan kelganicha harakat qildi, ammo u yaxshi qismlarga loyiq va yaxshi qismlarga ega bo'ladi. Janob Olivier o'zini katta nom bilan taniydi".^[31] 1929 yillarning qolgan qismida Olivye etti pesada qatnashdi, ularning barchasi qisqa muddatli edi. Billington bu muvaffaqiyatsizlikka shunchaki omad emas, balki Olivierning noto'g'ri tanlovi deb baho beradi.^[1][f]

Ko'tarilayotgan yulduz (1930–1935)

1930 yilda, yaqinlashib kelayotgan nikohini hisobga olgan holda, Olivier ikkita filmda kichik rollar bilan qo'shimcha pul ishlab topdi.^[35] Aprel oyida u ingliz tilidagi versiyasini suratga olish uchun Berlinga yo'l oldi Vaqtinchalik beva ayol, bilan jinoyat komediyasi Lilian Xarvi,^[g] va may oyida u to'rt kecha boshqa komediya ustida ishladi, Juda ko'p firibgarlar.^[37] Unga 60 funt to'lagan so'nggi film ustida ishlash paytida,^[h] u o'zining shaxsiy menejeriga aylangan Lorens Evans bilan uchrashdi.^[35] Olivye filmda ishlashni yoqtirmasdi, uni "bu ajoyib aktyorlikka dosh berolmaydigan kamqonlikli kichik vosita" deb rad etdi,^[39] ammo moliyaviy jihatdan bu uning teatr ishiga qaraganda ancha foydali edi.^[40]

Olivye va Esmond 1930 yil 25-iyulda Margaret ko'chasida, All Saints-da uylanishdi.^[41] garchi bir necha hafta ichida ikkalasi ham xato qilganliklarini angladilar. Keyinchalik Olivye bu nikoh "juda qo'pol xato edi. Men diniy va hayvonlar tomonidan qo'zg'atilgan aralash uyg'otishdan uylanishni talab qildim ... U menga boshqa joyda sevishini va hech qachon meni to'liq sevolmasligini tan oldi. Men tilayman ".^[42][men][j] Keyinchalik Olivier to'ydan keyin u o'n yil davomida kundaligini tutmaganligini va boshqa hech qachon diniy urf-odatlarga ergashmaganligini aytdi, garchi u bu faktlarni nikohga aloqasi bo'lmagan "shunchaki tasodif" deb hisoblagan bo'lsa.^[45]

1930 yilda Noël qo'rqoq Viktor Prynne rolida Olivierni yangi o'yinida suratga oldi Shaxsiy hayot yangi ochilgan Feniks teatri sentyabrda Londonda. Qo'rqoq va Gertruud Lourens bosh rollarni ijro etgan, Elyot Chase va Amanda Porn. Viktor Sybil Chase bilan birga ikkinchi darajali belgi; muallif ularni "qo'shimcha qo'g'irchoqlar, yengil yog'och ninepinlar, faqat ularni bir necha bor yiqitib, yana o'rnidan turishi kerak" deb atagan.^[46] Ularni Amanda va Elyot uchun ishonchli turmush o'rtoqlar qilishlari uchun, Qo'rqoq ikkita jozibali ijrochi rollarni ijro etishi kerakligiga qaror qildi.^[47] Olivye G'arbiy Endda Viktorni o'ynagan va keyin Broadway; Adrianne Allen Londonda Sybil edi, lekin Nyu-Yorkka borolmadi, u erda bu qism Esmond tomonidan olingan.^[48] 23 yoshli Olivierga birinchi West West rolini berishdan tashqari, qo'rquv ustozga aylandi. 1960 yillarning oxirida Olivye aytdi Sheridan Morley:

U menga muvozanatni, yaxshi va yomonni his qildi. U meni o'qishga majbur qilardi; Men hech qachon umuman hech narsa o'qimaganman. Uning: "To'g'ri, bolam, Wuthering balandliklari, Inson qulligi va Eski xotinlarning ertagi tomonidan Arnold Bennet. Shunday bo'ladi, bu eng yaxshilarning uchtasi. Ularni o'qing. "Men qildim. ... Noël ham bebaho ish qildi, u menga sahnada kulmasligimni o'rgatdi. Bir paytlar men buni qilganim uchun ishdan bo'shatilgan edim va deyarli Birmingem vakili tomonidan ishdan bo'shatilgan edim. Nuel meni davoladi, meni g'azab bilan kulishga urinib, bunga qanday berilmaslikni o'rgatdi.^[k] Mening buyuk g'alabam Nyu-Yorkda bir kuni kechqurun men o'zimni kuldirmasdan sahnada Nolni sindirib tashlashga muvaffaq bo'ldim. "^[50]

Olivier, birinchi xotini bilan Jill Esmond (chapda), 1932 yilda

1931 yilda RKO rasmlari Olivierga haftasiga 1000 dollardan ikki filmga shartnoma taklif qildi;^[l] u qo'rqoq bilan imkoniyatni muhokama qildi, u g'azablanib Olivyega "Sizda badiiy yaxlitlik yo'q, bu sizning muammoingiz; mana shunday o'zingizni arzonlashtirasiz" dedi.^[52] U ba'zi bir shubhalarga qaramay, qabul qildi va Gollivudga ko'chib o'tdi. Uning birinchi filmi drama edi Do'stlar va sevishganlar, RKO unga qarz berishidan oldin, yordamchi rolda Fox studiyalari Rossiyadagi Britaniyalik jurnalist o'zining birinchi filmi uchun harbiy holat yilda Sariq chipta, yonida Elissa Landi va Lionel Barrimor.^[53] Madaniyat tarixchisi Jeffri Richards Olivierning ko'rinishini Fox Studios tomonidan o'xshashlik yaratishga urinish sifatida tasvirlaydi Ronald Kolman, va Kolmanning mo'ylovi, ovozi va uslubi "mukammal tarzda takrorlanadi".^[54] Olivier 1932 yilgi dramasi bilan shartnomasini bajarish uchun RKOga qaytib keldi G'arbiy tomon o'tish, bu savdo muvaffaqiyatsizlikka uchradi.^[55] Olivierning Amerika filmlariga dastlabki kirishuvi u umid qilgan yutuqni ta'minlamagan; Gollivuddan ko'ngli qolgan u Londonga qaytib, u erda ikkita ingliz filmida suratga tushgan, Zo'r tushunish bilan Gloriya Swanson va Hech qanday kulgili biznes yo'q - unda Esmond ham paydo bo'ldi. U 1933 yilda Gollivudga qarama-qarshi ko'rinish uchun vasvasaga solingan Greta Garbo yilda Qirolicha Kristina, ammo ikki hafta davomida suratga olinganidan so'ng, ular o'rtasida kimyo yo'qligi sababli almashtirildi.^[56]

1934 yilda Olivierning sahna rollari Botuellni ham o'z ichiga olgan Gordon Deviot "s Shotlandiya malikasi, bu uning uchun va o'yin uchun faqatgina o'rtacha muvaffaqiyat edi, lekin o'sha menejment uchun muhim kelishuvga olib keldi (Bronson Alberi ) birozdan keyin. Vaqt oralig'ida u amerikalik aktyorning ingichka niqoblangan versiyasida o'ynab katta muvaffaqiyatga erishdi John Barrymore yilda Jorj S. Kaufman va Edna Ferber "s Teatr Royal. Uning muvaffaqiyati, ikki oy ichida yugurishda to'piqni sindirib tashlaganligi, u o'zining chiqishlarini jonlantirishni yoqtirgan atletik, akrobatik stuntslardan birida boshlangani bilan bog'liq edi.^[57]

1935 yilda Albery rahbarligida, Jon Gielgud sahnalashtirilgan Romeo va Juliet da Yangi teatr, Peggi Ashkroft bilan birga rol ijro etgan, Edit Evans va Olivier. Gielgud Olivierni ko'rgan edi Shotlandiya malikasi, uning imkoniyatlarini aniqladi va endi unga karerasida katta qadam tashladi. Yugurishning birinchi haftalarida Gielgud o'ynadi Merkutio va Olivier o'ynadi Romeo, shundan so'ng ular rollarni almashdilar.^[m] Ushbu asar spektakl uchun barcha kassa rekordlarini yangiladi va 189 spektaklga mo'ljallangan.^[n] Birinchi kechadan keyin Olivye o'zining spektaklining qizg'inligini maqtagan, ammo Shekspirning she'riyatini she'riyat she'riyatining ustasi bilan taqqoslagan holda qattiq tanqid qilgan xabarlardan g'azablandi.^[o] Ikki kishining do'stligi Olivye tarafida, umrining oxirigacha tik edi.^[61]

Old Vik va Vivien Ley (1936–1938)

1936 yil may oyida Olivye va Richardson birgalikda rejissyorlik qildilar va yangi asarda rol ijro etishdi J. B. Priestli, Qayiqdagi asalarilar. Ikkala aktyor ham ajoyib xabarnomalarni qo'lga kiritdi, ammo Buyuk Britaniyaning parchalanish allegiyasi bo'lgan ushbu asar jamoatchilikni jalb qilmadi va to'rt haftadan so'ng yopildi.^[62] Keyinchalik o'sha yili Olivier qo'shilishga taklifni qabul qildi Old Vic kompaniya. Teatr, janubning janubiy qismida joylashgan Temza, o'z egasi ostida opera va drama uchun arzon chiptalarni taklif qilgan edi Lilian Baylis 1912 yildan beri.^[63] Uning drama kompaniyasi Shekspirning spektakllariga ixtisoslashgan va ko'plab etakchi aktyorlar u erda Shekspir texnikalarini rivojlantirish uchun ish haqlarini juda katta qisqartirgan.^[p] Gielgud 1929 yildan 1931 yilgacha, Richardson esa 1930 yildan 1932 yilgacha bo'lgan.^[65] 1936 yil oxirida Olivye qo'shilgan aktyorlar orasida Edit Evans, Rut Gordon, Alek Ginnes va Maykl Redgreyv.^[66] 1937 yil yanvar oyida u kesilmagan versiyasida bosh rolni egalladi Hamlet Bu oyatda u yana etti marotaba shu sahnada rol o'ynagan Gielgud bilan taqqoslaganda, u juda katta olqishlarga sazovor bo'ldi.^[q] Kuzatuvchi 's Ivor Braun Olivierning "magnitligi va mushaklari" ni maqtadi, ammo "janob Gielgud tomonidan juda aniq o'rnatilgan pafos turlarini" sog'inib qoldi.^[69] Sharhlovchi The Times spektaklni "hayotiy kuchga to'la" deb topdi, lekin ba'zida "juda engil ... xarakter janob Olivier qo'lidan siljiydi".^[70]

Old Vic (2012 yilda suratga olingan), bu erda Olivier Shekspir sifatida o'z mahoratini oshirdi

Keyin Hamlet, kompaniya taqdim etdi O'n ikkinchi kecha direktorda, Tyron Gutri, "Mening yomon, pishmagan ishlab chiqarishim" deb xulosa qildi, Olivier g'azablanarli darajada kulgili Ser Tobi va juda yosh Alek Ginnes g'azablanarli va kulgili Ser Endryu ".^[71] Genri V may oyida namoyish etilgan navbatdagi spektakl edi Jorj VI ning tantanali marosimi. Pasifist, xuddi o'sha paytda bo'lgani kabi, Olivye ham Gutri asarni boshqarishi kabi jangchi qirol bilan o'ynashni istamadi, ammo bu prodyuser muvaffaqiyatli bo'ldi va Baylis ushbu musobaqani to'rt haftadan sakkiz haftagacha uzaytirishi kerak edi.^[72]

Olivye Shekspirning sahna asarlarida muvaffaqiyat qozonganidan so'ng, 1936 yilda filmda Shekspirga birinchi qadam qo'ydi. Orlando yilda Sizga yoqqanidek, rejissor Pol Tszinner Maykl Brukning so'zlariga ko'ra, "agar engil ishlab chiqarish maftunkor bo'lsa" Britaniya kino instituti (BFI) Screenonline.^[73] Keyingi yil Olivier yonida paydo bo'ldi Vivien Ley tarixiy dramada Angliya ustidan o't. U birinchi bo'lib Ley bilan qisqa vaqt ichida uchrashgan edi Savoy panjara va keyin yana u ish paytida unga tashrif buyurganida Romeo va Juliet, ehtimol 1936 yil boshida va o'sha yili ikkalasi ish boshlashgan.^[74] Keyinchalik munosabatlar haqida Olivier "Men Vivienga yordam berolmadim. Hech kim qila olmadi. Men Jilni aldaganim uchun o'zimni yomon ko'rardim, lekin keyin men bundan oldin ham aldagan edim, ammo bu boshqacha edi. Bu shunchaki emas edi shahvat. Bu sevgi, men haqiqatan ham so'ramaganman, lekin unga jalb qilinganman. "^[75] Ley bilan munosabatlari davom etar ekan, u aktrisa bilan ish tutgan Enn Todd,^[76] va ehtimol aktyor bilan qisqa munosabatda bo'lgan Genri Eynli, biograf Maykl Munnning so'zlariga ko'ra.^[77][r]

1937 yil iyun oyida Old Vic kompaniyasi kontsert berishga taklif oldi Hamlet at qal'aning hovlisida Elsinore, Shekspir asarni joylashtirgan joyda. Olivier Cherry Cottrell o'rnini egallash uchun Leyning kastingini ta'minladi Ofeliya. Yomg'ir yog'ishi sababli spektaklni qal'a hovlisidan mahalliy mehmonxonaning bal zaliga ko'chirish kerak edi, ammo Elsinorda Hamlet o'ynash an'anasi paydo bo'ldi va Olivier boshqalar qatorida Gielgud (1939), Redgreyv (1950) tomonidan ta'qib qilindi. ), Richard Berton (1954), Kristofer Plummer (1964), Derek Jakobi (1979), Kennet Branagh (1988) va Yahudo qonuni (2009).^[82] Londonga qaytib, kompaniya sahnaga chiqdi Makbet, bosh rolda Olivier bilan. Tomonidan stilize qilingan ishlab chiqarish Mishel Sen-Denis unchalik yoqmadi, ammo Olivierning yomonlari orasida yaxshi xabarlari bor edi.^[83] Daniyadan qaytib kelganda, Olivye va Ley o'zlarining turmush o'rtoqlariga bu ish haqida va ularning nikohlari tugaganligini aytishdi; Esmond oilaviy uydan chiqib, onasi bilan birga ko'chib o'tdi.^[84] 1937 yil o'rtalarida Olivye va Ley Evropani aylanib chiqishganidan so'ng, ular alohida film loyihalariga qaytishdi.Oksforddagi Yank uning uchun va X xonimning ajrashishi u uchun - va birgalikda mulkka ko'chib o'tdi Iver, Bukingemshir.^[85]

Olivye 1938 yilda Old Vic-ga ikkinchi mavsumga qaytdi Otello u o'ynadi Iago, bosh rolda Richardson bilan. Gutri Iagoning yovuzligini bosilgan muhabbat boshqarishi nazariyasi bilan tajriba o'tkazmoqchi edi Otello.^[86] Olivye hamkorlik qilishga tayyor edi, ammo Richardson bunday qilmadi; tomoshabinlar va aksariyat tanqidchilar Olivier Iago-ning taxminiy motivlarini aniqlay olmadilar va Richardsonning "Otello" si kuchsizdek tuyuldi.^[87] Ushbu qiyosiy muvaffaqiyatsizlikdan so'ng kompaniya muvaffaqiyat qozondi Coriolanus bosh rolda Olivier ishtirok etgan. Kabi ogohlantirishlar maqtovga sazovor bo'lib, u kabi buyuk salafiylar qatorida uni eslatib o'tdilar Edmund Kin, Uilyam Makready va Genri Irving. Aktyor Robert Spayt buni "Olivierning birinchi tortishib bo'lmaydigan ajoyib ijrosi" deb ta'rifladi.^[88] Bu Olivierning olti yil davomida London sahnasidagi so'nggi chiqishi edi.^[88]

Gollivud va Ikkinchi Jahon urushi (1938-1944)

Olivier, bilan Merle Oberon 1939 yilgi filmda Wuthering balandliklari

1938 yilda Olivier josuslarning trillerini suratga olish uchun Richardsonga qo'shildi Q samolyotlar, keyingi yil chiqarilgan. Frank Nugent, uchun tanqidchi The New York Times, Olivier Richardson kabi "unchalik yaxshi emas", ammo "juda maqbul" edi deb o'yladi.^[89] 1938 yil oxirida, 50 ming dollar maosh bilan aldanib, aktyor bu qismni olish uchun Gollivudga yo'l oldi Xitliff 1939 yilgi filmda Wuthering balandliklari, yonida Merle Oberon va Devid Niven.^[90][lar] Bir oydan kamroq vaqt ichida Ley uning safiga qo'shildi va uning sayohati "qisman Larri u erda bo'lgani uchun va qisman men uning qismini olishni niyat qilganim uchun" deb tushuntirdi. Skarlett O'Hara "- roli Shamol bilan ketdim u oxir-oqibat tashlandi.^[91] Olivier yasashni yoqtirmasdi Wuthering balandliklariva uning kino aktyorligiga yondashuvi, Oberonni yoqtirmaslik bilan birga, to'plamdagi keskinlikni keltirib chiqardi.^[92] Direktor, Uilyam Uayler, juda qiyin vazifa ustasi edi va Olivye Billington o'zini moyil bo'lgan "teatrlikning karapasi" deb ta'riflagan narsani olib tashlashni o'rganib, uni "sezgir haqiqat" bilan almashtirdi.^[1] Olingan film tijorat va tanqidiy yutuq bo'lib, unga nominatsiyani qo'lga kiritdi Eng yaxshi aktyor uchun Oskar mukofoti va uning ekran obro'sini yaratdi.^[93][t] Kerolin Lejeun uchun yozish Kuzatuvchirolida "Olivierning qorong'i, kayfiyatli yuzi, keskin uslubi va dunyoga nisbatan o'ziga xos mutakabbirligi to'g'ri" deb hisoblagan,^[95] sharhlovchi esa The Times Olivier "Heathcliff-ning yaxshi mujassamidir ... insonning samolyotida etarlicha ta'sirchan, o'z chiziqlarini chinakamiga ajralib turadigan va har doim ham romantik, ham tirik".^[96]

Olivier bilan Joan Fonteyn 1940 yilda filmda Rebekka

1939 yil o'rtalarida Londonga qisqa vaqt ichida qaytib kelganidan so'ng, juftlik Amerikaga, Leyga qaytib keldi Shamol bilan ketdimva Olivierni suratga olishga tayyorlash Alfred Xitkok "s Rebekka - er-xotin unda paydo bo'lishiga umid qilishgan bo'lsa-da.^[97] Buning o'rniga, Joan Fonteyn prodyuser sifatida de Vinter xonim roli uchun tanlangan Devid O. Selznik u nafaqat bu rolga munosibroq, balki Olivye va Leyni ajrashishlari tugamaguncha ajratib turish yaxshidir deb o'ylardi.^[98] Olivye ergashdi Rebekka bilan G'urur va noto'g'ri aqida, rolida Janob Darsi. Uning umidsizligiga Elizabeth Bennet tomonidan o'ynagan Greer Garson Leydan ko'ra. U ikkala film uchun ham yaxshi baholarga sazovor bo'ldi va ekranning dastlabki ishlashiga qaraganda ancha ishonchli ishtirok etdi.^[99] 1940 yil yanvar oyida Olivye va Esmond ajrashishdi. Fevral oyida Leyning yana bir iltimosiga binoan, eri ham ularning nikohini bekor qilishni iltimos qildi.^[100]

Sahnada Olivye va Ley rol ijro etishdi Romeo va Juliet Brodveyda. Bu g'ayrioddiy ishlab chiqarish edi, ammo tijorat muvaffaqiyatsizligi.^[101] Yilda The New York Times Bruks Atkinson sahna ko'rinishini maqtadi, lekin aktyorlikni emas: "Miss Ley va janob Olivye chiroyli yoshlar bo'lishiga qaramay, ular deyarli o'z rollarini ijro etishmaydi".^[102] Er-xotin deyarli barcha jamg'armalarini loyihaga sarfladilar va uning muvaffaqiyatsizligi jiddiy moliyaviy zarba bo'ldi.^[103] Ular 1940 yil avgustda turmushga chiqdilar San-Isidro Ranch yilda Santa Barbara.^[104]

Evropada urush bir yildan beri davom etmoqda va Angliya uchun yomon ahvolda edi. To'yidan keyin Olivye urush harakatlariga yordam berishni xohladi. U telefon qildi Duff Cooper, Axborot vaziri ostida Uinston Cherchill, Kuper bo'limida lavozimga ega bo'lish umidida. Kuper unga turgan joyida qolishni va kinorejissyor bilan gaplashishni maslahat berdi Aleksandr Korda Cherkovning buyrug'i bilan AQShda joylashgan va Britaniya razvedkasi bilan aloqada bo'lgan.^[105][u] Korda - Cherchillning ko'magi va ishtiroki bilan yo'naltirilgan Hamilton ayol, kabi Olivier bilan Xoratio Nelson va Ley sarlavha roli. Korda er-xotin o'rtasidagi munosabatlarning yomonlashganini ko'rdi. Olivye Leyning bo'g'uvchi adulyatsiyasidan charchagan va u haddan tashqari ichkilik ichgan.^[106] Tahdid bo'lgan film Napoleon ga parallel Gitler BFI ma'lumotlariga ko'ra, tanqidchilar tomonidan "yomon tarix, ammo inglizlarning yaxshi targ'iboti" sifatida qaraldi.^[107]

Olivye hayoti fashistlar va nemisparast tarafdorlar tahdidi ostida bo'lgan. Studiya egalari bundan etarlicha xavotirda edilar Semyuel Goldvin va Sesil B. DeMil ikkalasi ham uning xavfsizligini ta'minlash uchun qo'llab-quvvatladi va xavfsizlikni ta'minladi.^[108] Filmni suratga olish tugagandan so'ng, Olivye va Ley Britaniyaga qaytib kelishdi. U o'tgan yili uchishni o'rgangan va Amerikadan ketguncha qariyb 250 soatni tugatgan. U Qirollik havo kuchlariga qo'shilishni niyat qilgan, ammo buning o'rniga yana bir tashviqot filmini suratga olgan, 49-chi parallel, Axborot vazirligi uchun qisqacha qismlarni aytib berdi va qo'shildi Fleet Air Arm chunki Richardson allaqachon xizmatda edi. Richardson Olivier tezda tutib olgan samolyotlarni qulashi bilan mashhur bo'lgan.^[109] Olivye va Ley tashqarida joylashgan kottejga joylashdilar RNAS munosib pastga, u erda u o'quv eskadroni bilan joylashtirilgan; Noël Coward er-xotin oldiga tashrif buyurib, Olivierni baxtsiz bo'lib ko'rindi deb o'ylardi.^[110] Olivye ko'p vaqtlarini eshittirishlarda qatnashgan va ma'naviyatni rivojlantirish uchun ma'ruzalar qilgan va 1942 yilda u yana bir tashviqot filmini tayyorlashga taklif qilingan, Demi-jannat, unda u ingliz-rus munosabatlarini yaxshilashga yordam beradigan sovet muhandisi rolini o'ynadi.^[111]

Chet elda gazeta muxbirlari to'plamga tashrif buyurishadi Genri V 1943 yilda Denham studiyasida

1943 yilda Axborot vazirligining buyrug'i bilan Olivye ish boshladi Genri V. Dastlab u rejissyorlik vazifasini bajarishni niyat qilmagan, ammo bosh rolni bajarish bilan bir qatorda rejissyorlik va prodyuserlik ishlarini yakunlagan. Unga italiyalik internat yordam berdi, Filippo Del Giudice, ittifoqchilar uchun tashviqot ishlab chiqarish uchun ozod qilingan.^[112] 650 ta qo'shimchani topish osonroq bo'lgan neytral Irlandiyadagi jang sahnalarini suratga olish to'g'risida qaror qabul qilindi. Jon Betjeman, Dubldagi Buyuk Britaniyaning elchixonasidagi press-attaşe, tegishli kelishuvlarni amalga oshirishda Irlandiya hukumati bilan muhim aloqa rolini o'ynadi.^[113] Film 1944 yil noyabrda chiqdi. Bruk BFIga yozishicha, "Ikkinchi Jahon Urushida bu kabi qurollanishga chaqirish juda kech bo'ldi, lekin Angliya himoya qilayotgan narsaning kuchli eslatmasini yaratdi".^[114] Film uchun musiqa muallifi Uilyam Uolton, musiqiy tanqidchining so'zlariga ko'ra, "kino musiqasida eng yaxshi ko'rsatkichlarga ega bo'lgan bal" Maykl Kennedi.^[115] Uolton shuningdek, Olivierning keyingi ikkita Shekspirga moslashishi uchun musiqa taqdim etdi, Hamlet (1948) va Richard III (1955).^[116] Genri V tanqidchilar tomonidan iliq kutib olindi. Uchun sharhlovchi Manchester Guardian filmda "g'olibona" ​​ishlagan filmda "yangi san'at eski daho bilan va ikkalasi ham bir aqlning qo'lida" birlashtirilganligini yozgan.^[117] Tanqidchi The Times Olivye "Genri rolini yuqori, qahramonona yozuvda ijro etadi va hech qachon yorilish xavfi mavjud emas" deb hisoblaydi, "kino mahoratining g'alabasi" deb ta'riflangan filmda.^[118] Film uchun Oskar nominatsiyalari, jumladan, "Eng yaxshi film" va "Eng yaxshi aktyor" nominatsiyalari mavjud edi, ammo u hech kimni yutmadi va Olivye o'rniga "Maxsus mukofot" taqdim etildi.^[119] U taassurot qoldirmadi va keyinchalik "bu mening birinchi mutlaq fob-offim edi va men buni shunday deb bildim", deb izoh berdi.^[120]

Old Vic-ning rejissyori (1944–1948)

Urush davomida Tyron Gutri 1942 yilda Germaniya tomonidan bombardimon qilinganidan keyin ham teatrni vayronaga aylantirganidan keyin ham Old Vik kompaniyasini davom ettirishga intildi. Kichkina truppa viloyatlarni aylanib chiqdi, uning boshida Sybil Thordayk bor edi. 1944 yilga kelib, urush to'lqini o'zgarishi bilan Gutri kompaniyani London bazasida qayta tiklash vaqti kelganini sezdi va Richardsonni unga rahbarlik qilishga taklif qildi.^[121] Richardson buni triumviratdagi aktyorlik va menejment bilan bo'lishishni qabul qilish shartini qo'ydi. Dastlab u Gielgud va Olivierani o'z hamkasblari sifatida taklif qildi, ammo birinchisi rad etdi: "Bu falokat bo'ladi, siz Larri bilan mening o'rtamda hakam sifatida butun vaqtingizni o'tkazishingiz kerak edi".^[122][v] Nihoyat, uchinchi ishtirokchi sahna rejissyori bo'lishiga kelishib olindi Jon Burrell. Old Vic gubernatorlari Richardson va Olivierni ozod qilish uchun Qirollik flotiga murojaat qilishdi; The Dengiz lordlari Olivye aytganidek, "tezkorlik va istamaslik ijobiy zarar ko'rganligi" bilan rozi bo'ldi.^[124]

Hamraisi rejissyor va hammuallif: Ralf Richardson 1940-yillarda

Triumvirat xavfsizlikni ta'minladi Yangi teatr ularning birinchi mavsumi uchun va kompaniyani yolladilar. Thordayk, boshqalar qatorida, Xarkurt Uilyams, Joys Redman va Margaret Leyton. To'rt spektakldan iborat repertuar bilan ochishga kelishib olindi: Peer Gint, Qurol va odam, Richard III va Vanya amaki. Olivierning rollari Tugma Moulder, Sergius, Richard va Astrov edi; Richardson Peer, Bluntschli, Richmond va Vanya rollarini ijro etdi.^[125] Dastlabki uchta asar sharhlovchilar va tomoshabinlar olqishiga sazovor bo'ldi; Vanya amaki aralash qabul qildi, garchi The Times Olivye Astrov "eng taniqli portret" va Richardsonning Vanya "bema'nilik va pafosning mukammal birikmasi" deb o'yladim.^[126] Yilda Richard IIIBillingtonning so'zlariga ko'ra, Olivierning g'alabasi mutlaqo: "shu qadar ko'pki, bu uning eng tez-tez taqlid qilinadigan ijroiga aylandi va ustunligi tan olinmaguncha Antoniy Sher qirq yildan keyin rol o'ynadi ".^[1] 1945 yilda kompaniya Germaniyani aylanib chiqdi, u erda ularni minglab ittifoqchi harbiylar ko'rishgan; ular ham paydo bo'ldi Comedi-Française Parijdagi teatr, bu sharafga sazovor bo'lgan birinchi xorijiy kompaniya.^[127] Tanqidchi Garold Xobson Richardson va Olivye tezda "Old Vikni anglo-sakson dunyosidagi eng taniqli teatrga aylantirganini" yozgan.^[128]

Ikkinchi mavsumda, 1945 yilda, ikkita dublyaj taqdim etildi. Birinchisi quyidagilardan iborat edi Genri IV, 1 va 2-qismlar. Olivye birinchisida jangchi Hotspurni o'ynagan va dadillik bilan o'ynagan Adolat Sayoz ikkinchisida.^[w] U yaxshi xabarnomalarni oldi, lekin umumiy rozilik bilan mahsulot Richardsonga tegishli edi Falstaff.^[130] Ikkinchi dublyajda asosiy rollarda Olivier ustunlik qildi Edip Reks va Tanqidchi. Ikki pərdəli o'yinda uning birinchi yarmidagi fojia va dahshatni fars komediyasiga o'tkazish ikkinchi qismda aksariyat tanqidchilar va tomoshabinlarni hayratda qoldirdi, ammo ozchiliklar fikricha ushbu voqeadan o'zgarish Sofokl qon bilan ko'r bo'lgan qahramonga Sheridan Janob Puff bema'ni va kulgili bo'lib, "musiqa zalidagi tez o'zgarishni burkab oldi".^[131] London mavsumidan so'ng kompaniya ikkitomonlama veksellarni ham o'ynadi Vanya amaki Broadway-da olti haftalik yugurishda.^[132]

Uchinchi va oxirgi London mavsumi triumvirat ostida 1946-47 yillarda bo'lib o'tdi. Olivye King Lir rolini o'ynadi va Richardson bosh rolni egalladi Sirano-de-Bergerak. Olivye rollarni almashtirishni afzal ko'rgan bo'lar edi, ammo Richardson Lirga urinishni xohlamadi.^[133] Olivier's Lear yaxshi, ammo unchalik yaxshi baholanmagan baholarni oldi. O'yinning oxiriga kelib uning tanazzul va jinnilik sahnalarida ba'zi tanqidchilar uning rolidagi eng yaxshi o'tmishdoshlariga qaraganda kamroq harakatlanayotganini ko'rishdi.^[134] Ta'sirli tanqidchi Jeyms Agat Olivier o'zining ko'zni qamashtiradigan sahna texnikasini his etishmovchiligini yashirish uchun ishlatishini taklif qildi, bu ayblov aktyor qat'iyan rad etdi, lekin ko'pincha uning keyingi faoliyati davomida shunday bo'ldi.^[135] Yugurish paytida Sirano, Richardson edi ritsar, Olivierning yashirin hasadiga.^[136] Yosh yigit olti oydan keyin bu maqtovga sazovor bo'ldi, shu vaqtgacha triumvirat kunlari sanoqli bo'ldi. Ikki yulduzli aktyorlarning obro'si Old Vic gubernatorlarining yangi raisiga yoqmadi, Lord Esher. Uning birinchi rahbari bo'lish istagi bor edi Milliy teatr va aktyorlarning uni boshqarishiga ruxsat berish niyati yo'q edi.^[137] U Gutri tomonidan rag'batlantirildi, u Richardson va Olivye tayinlanishini qo'zg'atib, ularning ritsarliklari va xalqaro shon-sharaflaridan norozi bo'lib kelgan edi.^[138]

1947 yil yanvar oyida Olivye o'zining ikkinchi filmi ustida rejissyor sifatida ish boshladi, Hamlet (1948), unda u ham bosh rolni egallagan. Asl asar siyosiy hiyla-nayrangga emas, balki munosabatlarga e'tibor qaratish uchun juda kesilgan. Ljeun bo'lsa ham, film Britaniyada va chet ellarda tanqidiy va tijorat muvaffaqiyatiga aylandi Kuzatuvchi, buni "[Olivye] ning sahna asariga qaraganda unchalik samarasiz deb hisoblagan. ... U satrlarni olijanoblik bilan va ularni sevgan kishining erkalashi bilan gapiradi, lekin u o'zining tezislarini hech qachon, bir lahzaga bekor qilmaydi va taassurot qoldirmaydi. o'z fikrini qaror toptira olmaydigan odam; bu erda, aksincha, har qanday vaziyatda nima istayotganini aniq biladigan va bunga erishadigan aktyor-prodyuser-rejissyor ", deb o'ylaysiz.^[139] Kempbell Dikson [ru ], uchun tanqidchi Daily Telegraph film "ajoyib ... sahnadagi durdonalardan biri eng zo'r filmlardan biriga aylangan" deb o'yladi.^[140] Hamlet g'olib bo'lgan Amerika bo'lmagan birinchi film bo'ldi "Eng yaxshi film" uchun Oskar mukofoti, Olivier esa "Eng yaxshi aktyor" mukofotiga sazovor bo'ldi.^{[141][142][x]}

1948 yilda Olivier Old Vic kompaniyasini olti oylik Avstraliya va Yangi Zelandiyada gastrol safari davomida boshqargan. U Sheridanning Richard III, Ser Piter Teazl rollarini ijro etgan Skandal uchun maktab va Antrobus Tornton Uaylder "s Bizning tishlarimiz terisi, oxirgi ikki o'yinda Ley bilan birga paydo bo'lgan. Olivye Avstraliya turida, Richardson esa Gollivudda bo'lganida, Esher "iste'foga chiqqan" deyilgan uchta rejissyorning shartnomalarini bekor qildi.^[144] Melvin Bragg 1984 yilda Olivier va Jon Millerning Richardsonning vakolatli biografiyasida olib borilgan tadqiqotida, ikkalasi ham Esherning harakati Milliy teatrning tashkil topishini kamida o'n yilga qaytarganligini ta'kidlamoqda.^[145] 1971 yilga nazar tashlasak, Bernard Levin 1944 yildan 1948 yilgacha bo'lgan Old Vic kompaniyasi "ehtimol bu mamlakatda yig'ilgan eng mashhur bo'lgan" deb yozgan.^[146] The Times triumvirat yillari Old Vik tarixidagi eng buyuk yillarni aytdi;^[147] kabi The Guardian aytganda, "hokimlar ularni vasatroq kompaniya ruhi uchun ularni ishdan bo'shatdilar".^[148]

Urushdan keyingi (1948–1951)

Olivier Ley bilan Avstraliyada, 1948 yil

Avstraliya turining oxirida Ley ham, Olivye ham toliqishdi va kasal bo'lib qolishdi va u jurnalistga: "Siz buni bilmasligingiz mumkin, lekin siz yurgan jasadlar bilan gaplashyapsiz", dedi. Keyinchalik u Avstraliyada "Vivienni yo'qotib qo'yganini" izohlaydi,^[149] Leyning avstraliyalik aktyor bilan bo'lgan ishiga havola Piter Finch, er-xotin tur davomida uchrashgan. Birozdan so'ng Finch Londonga ko'chib o'tdi, u erda Olivye uni ko'rikdan o'tkazdi va uni uzoq muddatli shartnoma tuzdi Laurence Olivier Productions. Finch va Leyning ishi bir necha yil davom etdi va yopildi.^[150][151]

Old Vic triumvirati ishdan bo'shatilgani ma'lum bo'lgan bo'lsa-da,^[152] they refused to be drawn on the matter in public, and Olivier even arranged to play a final London season with the company in 1949, as Richard III, Sir Peter Teazle, and Chorus in his own production of Anouilh "s Antigon with Leigh in the title role.^[1] After that, he was free to embark on a new career as an actor-manager. Bilan hamkorlikda Binkie Beaumont he staged the English premiere of Tennessi Uilyams "s Istak deb nomlangan tramvay, with Leigh in the central role of Blanche DuBois. The play was condemned by most critics, but the production was a considerable commercial success, and led to Leigh's casting as Blanche in the 1951 film version.^[153] Gielgud, who was a devoted friend of Leigh's, doubted whether Olivier was wise to let her play the demanding role of the mentally unstable heroine: "[Blanche] was so very like her, in a way. It must have been a most dreadful strain to do it night after night. She would be shaking and white and quite distraught at the end of it."^[154]

The production company set up by Olivier took a lease on the Sent-Jeyms teatri. In January 1950 he produced, directed and starred in Kristofer Fray 's verse play Venera kuzatildi. The production was popular, despite poor reviews, but the expensive production did little to help the finances of Laurence Olivier Productions. After a series of box-office failures,^[y] the company balanced its books in 1951 with productions of Shou "s Qaysar va Kleopatra and Shakespeare's Antoniy va Kleopatra which the Oliviers played in London and then took to Broadway. Olivier was thought by some critics to be under par in both his roles, and some suspected him of playing deliberately below his usual strength so that Leigh might appear his equal.^[156] Olivier dismissed the suggestion, regarding it as an insult to his integrity as an actor. In the view of the critic and biographer W. A. Darlington, he was simply miscast both as Caesar and Antony, finding the former boring and the latter weak. Darlington comments, "Olivier, in his middle forties when he should have been displaying his powers at their very peak, seemed to have lost interest in his own acting".^[157] Over the next four years Olivier spent much of his time working as a producer, presenting plays rather than directing or acting in them.^[157] His presentations at the St James's included seasons by Ruggero Ruggeri 's company giving two Pirandello plays in Italian, followed by a visit from the Comédie-Française playing works by Molier, Racin, Marivaux va Musset frantsuz tilida.^[158] Darlington considers a 1951 production of Otello yulduzcha Orson Uells as the pick of Olivier's productions at the theatre.^[157]

Independent actor-manager (1951–1954)

While Leigh made Tramvay in 1951, Olivier joined her in Hollywood to film Kerri, based on the controversial novel Kerri opa; although the film was plagued by troubles, Olivier received warm reviews and a BAFTA nomzodlik.^[159] Olivier began to notice a change in Leigh's behaviour, and he later recounted that "I would find Vivien sitting on the corner of the bed, wringing her hands and sobbing, in a state of grave distress; I would naturally try desperately to give her some comfort, but for some time she would be inconsolable."^[160] After a holiday with Coward in Jamaica, she seemed to have recovered, but Olivier later recorded, "I am sure that ... [the doctors] must have taken some pains to tell me what was wrong with my wife; that her disease was called manic depression and what that meant—a possibly permanent cyclical to-and-fro between the depths of depression and wild, uncontrollable mania.^[161] He also recounted the years of problems he had experienced because of Leigh's illness, writing, "throughout her possession by that uncannily evil monster, manic depression, with its deadly ever-tightening spirals, she retained her own individual canniness—an ability to disguise her true mental condition from almost all except me, for whom she could hardly be expected to take the trouble."^[162]

In January 1953 Leigh travelled to Ceylon (now Sri Lanka) to film Fil yurishi with Peter Finch. Shortly after filming started she suffered a breakdown, and returned to Britain where, between periods of incoherence, she told Olivier that she was in love with Finch, and had been having an affair with him;^[163] she gradually recovered over a period of several months. As a result of the breakdown, many of the Oliviers' friends learned of her problems. Niven said she had been "quite, quite mad",^[164] and in his diary, Coward expressed the view that "things had been bad and getting worse since 1948 or thereabouts."^[165]

Uchun Taqdirlash season of 1953, Olivier and Leigh starred in the West End in Terens Rattigan "s Ruritaniya komediya, Uyqudagi shahzoda. It ran for eight months^[166] but was widely regarded as a minor contribution to the season, in which other productions included Gielgud in Venetsiya saqlanib qoldi, Coward in Olma savat and Ashcroft and Redgrave in Antoniy va Kleopatra.^[167][168]

Olivier directed his third Shakespeare film in September 1954, Richard III (1955), which he co-produced with Korda. The presence of four theatrical knights in the one film—Olivier was joined by Sedrik Xardvik, Gielgud and Richardson—led an American reviewer to dub it "An-All-Sir-Cast".^[169] The critic for Manchester Guardian described the film as a "bold and successful achievement",^[170][171] but it was not a box-office success, which accounted for Olivier's subsequent failure to raise the funds for a planned film ning Makbet.^[169] He won a BAFTA award for the role and was nominated for the Best Actor Academy Award, which Yul Brynner yutuq.^[172][173]

Last productions with Leigh (1955–1956)

In 1955 Olivier and Leigh were invited to play leading roles in three plays at the Shekspir yodgorlik teatri, Stratford. They began with O'n ikkinchi kecha, directed by Gielgud, with Olivier as Malvolio and Leigh as Viola. Rehearsals were difficult, with Olivier determined to play his conception of the role despite the director's view that it was vulgar.^[174] Gielgud later commented:

Somehow the production did not work. Olivier was set on playing Malvolio in his own particular rather extravagant way. He was extremely moving at the end, but he played the earlier scenes like a Jewish hairdresser, with a lisp and an extraordinary accent, and he insisted on falling backwards off a bench in the garden scene, though I begged him not to do it. ... But then Malvolio is a very difficult part.^[175]

The next production was Makbet. Reviewers were lukewarm about the direction by Glen Byam Shaw and the designs by Rojer Furs, but Olivier's performance in the title role attracted superlatives.^[176] Kimga J. C. Trewin, Olivier's was "the finest Makbet of our day"; to Darlington it was "the best Macbeth of our time".^[177][178] Leigh's Ledi Makbet received mixed but generally polite notices,^{[177][179][180]} although to the end of his life Olivier believed it to have been the best Lady Macbeth he ever saw.^[181]

Olivier and Leigh in 1957

In their third production of the 1955 Stratford season, Olivier played the title role in Titus Andronik, with Leigh as Lavinia. Her notices in the part were damning,^[z] but the production by Piter Bruk and Olivier's performance as Titus received the greatest ovation in Stratford history from the first-night audience, and the critics hailed the production as a landmark in post-war British theatre.^[183] Olivier and Brook revived the production for a continental tour in June 1957; its final performance, which closed the old Stoll Theatre in London, was the last time Leigh and Olivier acted together.^[178]

Leigh became pregnant in 1956 and withdrew from the production of Coward's comedy Janubiy dengiz pufagi.^[184] The day after her final performance in the play she miscarried and entered a period of depression that lasted for months.^[185] The same year Olivier decided to direct and produce a film version of Uyqudagi shahzoda, qayta nomlangan Shahzoda va shou qiz. Instead of appearing with Leigh, he cast Merilin Monro as the showgirl. Although the filming was challenging because of Monroe's behaviour, the film was appreciated by the critics.^[186]

Royal Court and Chichester (1957–1963)

Ishlab chiqarish jarayonida Shahzoda va shou qiz, Olivier, Monroe and her husband, the American playwright Artur Miller, went to see the English Stage Company's production of Jon Osborne "s Jahl bilan orqaga qarang da Qirollik sudi. Olivier had seen the play earlier in the run and disliked it, but Miller was convinced that Osborne had talent, and Olivier reconsidered. He was ready for a change of direction; in 1981 he wrote:

I had reached a stage in my life that I was getting profoundly sick of—not just tired—sick. Consequently the public were, likely enough, beginning to agree with me. My rhythm of work had become a bit deadly: a classical or semi-classical film; a play or two at Stratford, or a nine-month run in the West End, etc etc. I was going mad, desperately searching for something suddenly fresh and thrillingly exciting. What I felt to be my image was boring me to death.^[187]

Olivier, with Joan Pllowayt yilda Ko'ngil ochuvchi on Broadway in 1958

Osborne was already at work on a new play, Ko'ngil ochuvchi, an allegory of Britain's post-colonial decline, centred on a seedy xilma-xillik comedian, Archie Rice. Having read the first act—all that was completed by then—Olivier asked to be cast in the part. He had for years maintained that he might easily have been a third-rate comedian called "Larry Oliver", and would sometimes play the character at parties. Behind Archie's brazen façade there is a deep desolation, and Olivier caught both aspects, switching, in the words of the biographer Anthony Holden, "from a gleefully tacky comic routine to moments of the most wrenching pathos".^[188] Toni Richardson 's production for the English Stage Company transferred from the Royal Court to the Saroy teatri in September 1957; after that it toured and returned to the Palace.^[189] The role of Archie's daughter Jean was taken by three actresses during the various runs. The second of them was Joan Pllowayt, with whom Olivier began a relationship that endured for the rest of his life.^[aa] Olivier said that playing Archie "made me feel like a modern actor again".^[191] In finding an avangard play that suited him, he was, as Osborne remarked, far ahead of Gielgud and Ralph Richardson, who did not successfully follow his lead for more than a decade.^[192][ab] Their first substantial successes in works by any of Osborne's generation were Alan Bennet "s Forty Years On (Gielgud in 1968) and Devid Stori "s Uy (Richardson and Gielgud in 1970).^[194]

Olivier received another BAFTA nomination for his supporting role in 1959's Iblisning shogirdi.^[173] The same year, after a gap of two decades, Olivier returned to the role of Coriolanus, in a Stratford production directed by the 28-year-old Piter Xoll. Olivier's performance received strong praise from the critics for its fierce athleticism combined with an emotional vulnerability.^[1] In 1960 he made his second appearance for the Royal Court company in Ionesko "s absurdist o'ynash Karkidon. The production was chiefly remarkable for the star's quarrels with the director, Orson Welles, who according to the biographer Frensis Bekket suffered the "appalling treatment" that Olivier had inflicted on Gielgud at Stratford five years earlier. Olivier again ignored his director and undermined his authority.^[195] In 1960 and 1961 Olivier appeared in Anouilh's Bket on Broadway, first in the title role, with Entoni Kvinn as the king, and later exchanging roles with his co-star.^[1]

Uchun plakat Stenli Kubrik "s Spartak, one of two films in which Olivier appeared in 1960

Two films featuring Olivier were released in 1960. The first—filmed in 1959—was Spartak, in which he portrayed the Roman general, Marcus Licinius Crassus.^[196] His second was Ko'ngil ochuvchi, 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.^[197] Uchun sharhlovchi 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".^[198] For his performance, Olivier was nominated for the Academy Award for Best Actor.^[199] He also made an adaptation of Oy va Sixpence in 1960, winning an Emmi mukofoti.^[200]

The Oliviers' marriage was disintegrating during the late 1950s. While directing Charlton Xeston 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.^[201] In May 1960 divorce proceedings started; Leigh reported the fact to the press and informed reporters of Olivier's relationship with Plowright.^[202] The farmon nisi was issued in December 1960, which enabled him to marry Plowright in March 1961.^[203] 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.^[204]

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, Jon Fletcher 's 1638 comedy The Chances va Jon Ford 's 1633 tragedy Singan yurak,^[205] dan so'ng Vanya amaki. The company he recruited was forty strong and included Thorndike, Casson, Redgrave, Afina Seyler, Jon Nevill and Plowright.^[205] 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."^[206] The second Chichester season the following year consisted of a revival of Vanya amaki and two new productions—Shaw's Sent-Joan va Jon Arden "s The Workhouse Donkey.^[207] In 1963 Olivier received another BAFTA nomination for his leading role as a schoolteacher accused of sexually molesting a student in the film Sinov muddati.^[173]

Milliy teatr

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 Janubiy bank of the Thames.^[1] 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 Jon Dexter va Uilyam Gaskill, bilan Kennet Tynan as literary adviser or "dramaturgiya ".^[208] 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.^[209]

The opening production of the National Theatre was Hamlet in October 1963, starring Piter O'Tul 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 Maykl Gambon, Maggi Smit, Alan Bates, Derek Jacobi and Entoni Xopkins. It was widely remarked that Olivier seemed reluctant to recruit his peers to perform with his company.^[210] Evans, Gielgud and Pol Skofild guested only briefly, and Ashcroft and Richardson never appeared at the National during Olivier's time.^[ak] Robert Stiven, a member of the company, observed, "Olivier's one great fault was a paranoid jealousy of anyone who he thought was a rival".^[211]

In his decade in charge of the National, Olivier acted in thirteen plays and directed eight.^[212] Several of the roles he played were minor characters, including a crazed butler in Feydo "s Qulog'idagi burga and a pompous solicitor in Maugham "s Home and Beauty; the vulgar soldier Captain Brazen in Farquhar 's 1706 comedy Ishga qabul qilish bo'yicha mas'ul was a larger role but not the leading one.^[213] Apart from his Astrov in the Vanya amaki, 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.^[214] His performance divided opinion. Most of the reviewers and theatrical colleagues praised it highly; Franko Zeffirelli called it "an anthology of everything that has been discovered about acting in the past three centuries."^[215] Dissenting voices included Sunday Telegraph, which called it "the kind of bad acting of which only a great actor is capable ... near the frontiers of self-parody";^[216] 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 Usta quruvchi when the ailing Redgrave withdrew from the role in November 1964.^{[218][reklama]} For the first time Olivier began to suffer from sahna qo'rquvi, which plagued him for several years.^[221] The National Theatre production of Otello ozod qilindi as a film in 1965, which earned four Academy Award nominations, including another for Best Actor for Olivier.^[222]

During the following year Olivier concentrated on management, directing one production (Krujka ), taking the comic role of the foppish Tattle in Birlashing "s Sevgi uchun sevgi, and making one film, Bunny ko'li bedarak yo'qolgan, in which he and Coward were on the same bill for the first time since Shaxsiy hayot.^[223] In 1966, his one play as director was Juno va Paykok. The Times commented that the production "restores one's faith in the work as a masterpiece".^[224] In the same year Olivier portrayed the Mehdi, opposite Heston as General Gordon, filmda Xartum.^[225]

In 1967 Olivier was caught in the middle of a confrontation between Chandos and Tynan over the latter's proposal to stage Rolf Xoxxut "s Askarlar. As the play speculatively depicted Churchill as complicit in the assassination of the Polish prime minister Wladyslaw 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.^[226] At about this time Olivier began a long struggle against a succession of illnesses. He was treated for prostata saratoni and, during rehearsals for his production of Chekhov's Uch opa-singil he was hospitalised with pneumonia.^[227] He recovered enough to take the heavy role of Edgar in Strindberg "s O'lim raqsi, the finest of all his performances other than in Shakespeare, in Gielgud's view.^[228]

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.^[229] His next major role, and his last appearance in a Shakespeare play, was as Shilok yilda Venetsiya savdogari, his first appearance in the work.^[ae] He had intended Guinness or Scofield to play Shylock, but stepped in when neither was available.^[231] 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".^[232][233]

In 1969 Olivier appeared in two war films, portraying military leaders. He played Field Marshal Frantsuzcha in the First World War film Oh! Qanday yoqimli urush, for which he won another BAFTA award,^[173] followed by Air Chief Marshal Xyu Dovding yilda Britaniya jangi.^[234] In June 1970 he became the first actor to be created a peer for services to the theatre.^[235][236] Although he initially declined the honour, Garold Uilson, the incumbent prime minister, wrote to him, then invited him and Plowright to dinner, and persuaded him to accept.^[237]

Laurence Olivier in 1972, during the production of Sleuth

After this Olivier played three more stage roles: James Tyrone in Evgeniya O'Nil "s Tunga uzoq kunlik sayohat (1971–72), Antonio in Eduardo de Filippo "s Saturday, Sunday, Monday and John Tagg in Trevor Griffits "s Partiya (both 1973–74). Among the roles he hoped to play, but could not because of ill-health, was Nathan Detroit in the musical Yigitlar va qo'g'irchoqlar.^[238] In 1972 he took leave of absence from the National to star opposite Maykl Keyn yilda Jozef L. Mankievich ning filmi Entoni Shaffer "s Sleuth, qaysi Illustrated London News considered to be "Olivier at his twinkling, eye-rolling best";^[239] both he and Caine were nominated for the Academy Award for Best Actor, losing to Marlon Brando yilda Cho'qintirgan ota.^[240]

The last two stage plays Olivier directed were Jean Giradoux "s Amfitryon (1971) and Priestley's Eden End (1974).^[241] Vaqtiga kelib Eden End, he was no longer director of the National Theatre; Peter Hall took over on 1 November 1973.^[242] The succession was tactlessly handled by the board, and Olivier felt that he had been eased out—although he had declared his intention to go—and that he had not been properly consulted about the choice of successor.^[243] The largest of the three theatres within the National's new building was named in his honour, but his only appearance on the stage of the Olivier Theatre was at its official opening by the Queen in October 1976, when he made a speech of welcome, which Hall privately described as the most successful part of the evening.^[244]

Later years (1975–1989)

Olivier spent the last 15 years of his life securing his finances and dealing with deteriorating health,^[1] which included thrombosis and dermatomiyozit, a degenerative muscle disorder.^[245][246] Professionally, and to provide financial security, he made a series of advertisements for Polaroid cameras in 1972, although he stipulated that they must never be shown in Britain; he also took a number of cameo film roles, which were in "often undistinguished films", according to Billington.^[247] Olivier's move from leading parts to supporting and cameo roles came about because his poor health meant he could not get the necessary long insurance for larger parts, with only short engagements in films available.^[248]

Olivier's dermatomyositis meant he spent the last three months of 1974 in hospital, and he spent early 1975 slowly recovering and regaining his strength. When strong enough, he was contacted by the director Jon Shlezinger, who offered him the role of a Nazi torturer in the 1976 film Marafon odam. Olivier shaved his pate and wore oversized glasses to enlarge the look of his eyes, in a role that the critic Devid Robinson uchun yozish The Times, thought was "strongly played", adding that Olivier was "always at his best in roles that call for him to be seedy or nasty or both".^[249] Olivier was nominated for the Academy Award for Best Actor in a Supporting Role, and won the Golden Globe of the same category.^[250][251]

In the mid-1970s Olivier became increasingly involved in television work, a medium of which he was initially dismissive.^[1] In 1973 he provided the narration for a 26-episode documentary, Urushdagi dunyo, which chronicled the events of the Second World War, and won a second Emmy Award for Tunga uzoq kunlik sayohat (1973). In 1975 he won another Emmy for Xarobalar orasidagi sevgi.^[200] The following year he appeared in adaptations of Tennessee Williams's Issiq qalay tomidagi mushuk va Garold Pinter "s To'plam.^[252] Olivier portrayed the Farziy Nikodim in Franco Zeffirelli's 1977 miniseries Nosiralik Iso. In 1978 he appeared in the film Braziliyalik bolalar, playing the role of Ezra Lieberman, an ageing Natsist ovchi; he received his eleventh Academy Award nomination. Although he did not win the Oscar, he was presented with an Honorary Award for his lifetime achievement.^[253]

Olivier continued working in film into the 1980s, with roles in Jazz qo'shiqchisi (1980), Inchon (1981), Bounty (1984) va Wild Geese II (1985).^[254] He continued to work in television; in 1981 he appeared as Lord Marchmain in Brideshead Revisited, winning another Emmy, and the following year he received his tenth and last BAFTA nomination in the television adaptation of Jon Mortimer 's stage play A Voyage Round My Father.^[173] In 1983 he played his last Shakespearean role as Lear in Qirol Lir, for Granada Television, earning his fifth Emmy.^[200] He thought the role of Lear much less demanding than other tragic Shakespearean heroes: "No, Lear is easy. He's like all of us, really: he's just a stupid old fart."^[255] When the production was first shown on American television, the critic Steve Vineberg wrote:

Olivier seems to have thrown away technique this time—his is a breathtakingly pure Lear. In his final speech, over Cordelia's lifeless body, he brings us so close to Lear's sorrow that we can hardly bear to watch, because we have seen the last Shakespearean hero Laurence Olivier will ever play. But what a finale! In this most sublime of plays, our greatest actor has given an indelible performance. Perhaps it would be most appropriate to express simple gratitude.^[256]

The same year he also appeared in a cameo alongside Gielgud and Richardson in Vagner, with Burton in the title role;^[257] his final screen appearance was as an elderly, wheelchair-bound soldier in Derek Jarman 1989 yilgi film Urush Requiem.^[258]

After being ill for the last 22 years of his life, Olivier died of buyrak etishmovchiligi on 11 July 1989 aged 82 at his home near Steyning, G'arbiy Sasseks. His cremation was held three days later;^[259] his ashes were buried in Shoirlar burchagi ning Vestminster abbatligi during a memorial service in October that year.^[246][260]

Awards, honours and memorials

Statue of Olivier outside the Qirollik milliy teatri

Olivier's star on the Gollivudning Shon-sharaf xiyoboni

Olivier was appointed Ritsar bakalavr ichida 1947 Birthday Honours for services to the stage and to films.^[261] A hayot tengdoshi followed in the 1970 Birthday Honours for services to the theatre;^[262] he was subsequently created Baron Olivier, of Brighton in the County of Sussex.^[263] Olivier was later appointed to the Faxriy xizmat ordeni 1981 yilda.^[264] He also received honours from foreign governments. In 1949 he was made Commander of the Dannebrog ordeni by the Danish king Frederik IX; the French appointed him Ofitser, Faxriy legion, in 1953; the Italian government created him Grande Ufficiale, Italiya Respublikasining xizmatlari uchun ordeni, in 1953; and in 1971 he was granted the Order of Yugoslav Flag with Golden Wreath.^[265]

From academic and other institutions, Olivier received honorary doctorates from Tufts universiteti yilda Massachusets shtati (1946), Oksford (1957) va Edinburg (1964). He was also awarded the Danish Sonning mukofoti in 1966, the Gold Medallion of the Shvetsiya Qirollik Xatlar, Tarix va Antikalar Akademiyasi 1968 yilda; va Albert medali ning Qirollik san'at jamiyati 1976 yilda.^{[265][266][af]}

For his work in films, Olivier received four Oskar mukofotlari: an honorary award for Genri V (1947), a Best Actor award and one as producer for Hamlet (1948), and a second honorary award in 1979 to recognise his lifetime of contribution to the art of film. He was nominated for nine other acting Oscars and one each for production and direction.^[267] Shuningdek, u ikkitasini yutdi British Academy Film mukofotlari out of ten nominations,^[ag] five Emmy Awards out of nine nominations,^[ah] va uchta Oltin globus mukofotlari out of six nominations.^[ai] He was nominated once for a Toni mukofoti (for best actor, as Archie Rice) but did not win.^[200][269]

In February 1960, for his contribution to the film industry, Olivier was inducted into the Gollivudning Shon-sharaf xiyoboni, with a star at 6319 Gollivud bulvari;^[270] he is included in the Amerika teatr shon-sharaf zali.^[271] In 1977 Olivier was awarded a Britaniya Kino Instituti stipendiyasi.^[272]

In addition to the naming of the National Theatre's largest auditorium in Olivier's honour, he is commemorated in the Laurens Olivier mukofotlari, bestowed annually since 1984 by the West End teatri jamiyati.^[265] In 1991 Gielgud unveiled a memorial stone commemorating Olivier in Poets' Corner at Westminster Abbey.^[273] In 2007, the centenary of Olivier's birth, a life-sized statue of him was unveiled on the South Bank, outside the National Theatre;^[274] the same year the BFI held a retrospective season of his film work.^[275]

Technique and reputation

Olivier's acting technique was minutely crafted, and he was known for changing his appearance considerably from role to role. By his own admission, he was addicted to extravagant make-up,^[276] and unlike Richardson and Gielgud, he excelled at different voices and accents.^[277][aj] His own description of his technique was "working from the outside in";^[279] he said, "I can never act as myself, I have to have a pillow up my jumper, a false nose or a moustache or wig ... I cannot come on looking like me and be someone else."^[276] Rattigan described how at rehearsals Olivier "built his performance slowly and with immense application from a mass of tiny details".^[280] This attention to detail had its critics: Agate remarked, "When I look at a watch it is to see the time and not to admire the mechanism. I want an actor to tell me Lear's time of day and Olivier doesn't. He bids me watch the wheels go round."^[281]

Olivier in 1939

Tynan remarked to Olivier, "you aren't really a contemplative or philosophical actor";^[12] Olivier was known for the strenuous physicality of his performances in some roles. He told Tynan this was because he was influenced as a young man by Duglas Feyrbanks, Ramon Navarro and John Barrymore in films, and Barrymore on stage as Hamlet: "tremendously athletic. I admired that greatly, all of us did. ... One thought of oneself, idiotically, skinny as I was, as a sort of Tarzan."^[12][ak] According to Morley, Gielgud was widely considered "the best actor in the world from the neck up and Olivier from the neck down."^[283] Olivier described the contrast thus: "I've always thought that we were the reverses of the same coin ... the top half John, all spirituality, all beauty, all abstract things; and myself as all earth, blood, humanity."^[12]

Together with Richardson and Gielgud, Olivier was internationally recognised as one of the "great trinity of theatrical knights"^[284] who dominated the British stage during the middle and later decades of the 20th century.^[285] In an obituary tribute in The Times, Bernard Levin wrote, "What we have lost with Laurence Olivier is glory. He reflected it in his greatest roles; indeed he walked clad in it—you could practically see it glowing around him like a nimbus. ... no one will ever play the roles he played as he played them; no one will replace the splendour that he gave his native land with his genius."^[286] Billington commented:

[Olivier] elevated the art of acting in the twentieth century ... principally by the overwhelming force of his example. Like Garrick, Kean, and Irving before him, he lent glamour and excitement to acting so that, in any theatre in the world, an Olivier night raised the level of expectation and sent spectators out into the darkness a little more aware of themselves and having experienced a transcendent touch of ecstasy. That, in the end, was the true measure of his greatness.^[1]

After Olivier's death, Gielgud reflected, "He followed in the theatrical tradition of Kean and Irving. He respected tradition in the theatre, but he also took great delight in breaking tradition, which is what made him so unique. He was gifted, brilliant, and one of the great controversial figures of our time in theatre, which is a virtue and not a vice at all."^[287]

Olivier said in 1963 that he believed he was born to be an actor,^[288] but his colleague Piter Ustinov disagreed; he commented that although Olivier's great contemporaries were clearly predestined for the stage, "Larry could have been a notable ambassador, a considerable minister, a redoubtable cleric. At his worst, he would have acted the parts more ably than they are usually lived."^[289] The director David Ayliff agreed that acting did not come instinctively to Olivier as it did to his great rivals. He observed, "Ralph was a natural actor, he couldn't stop being a perfect actor; Olivier did it through sheer hard work and determination."^[290] The American actor Uilyam Redfild had a similar view:

Ironically enough, Laurence Olivier is less gifted than Marlon Brando. He is even less gifted than Richard Burton, Paul Scofield, Ralph Richardson and John Gielgud. But he is still the definitive actor of the twentieth century. Nima uchun? Because he wanted to be. His achievements are due to dedication, scholarship, practice, determination and courage. He is the bravest actor of our time.^[291]

In comparing Olivier and the other leading actors of his generation, Ustinov wrote, "It is of course vain to talk of who is and who is not the greatest actor. There is simply no such thing as a greatest actor, or painter or composer".^[292] Nonetheless, some colleagues, particularly film actors such as Spenser Treysi, Xemfri Bogart va Loren Bakall, came to regard Olivier as the finest of his peers.^[293] Peter Hall, though acknowledging Olivier as the head of the theatrical profession,^[294] thought Richardson the greater actor.^[217] Olivier's claim to theatrical greatness lay not only in his acting, but as, in Hall's words, "the supreme man of the theatre of our time",^[295] pioneering Britain's National Theatre.^[210] As Bragg identified, "no one doubts that the National is perhaps his most enduring monument".^[296]

Stage roles and filmography

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• Rasmiy veb-sayt
• Lorens Olivier kuni IMDb
• Lorens Olivier da Internet Broadway ma'lumotlar bazasi
• Lorens Olivier da TCM filmlar uchun ma'lumotlar bazasi
• Lorens Olivier da BFI "s Screenonline
• Laurens Olivier arxivi da Britaniya kutubxonasi