It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
Laurence OlivierRead
[May 1958, on playing Macbeth at age 30 and age 48] When you're a young man, Macbeth is a character part. When you're older, it's a straight part.
Interpretation
The perspective on the character of Macbeth changes with age and experience.
Laurence Olivier's reflection on playing the role of Macbeth at different ages highlights how personal growth and life experiences can alter one's understanding of complex characters in literature. At a young age, one may see Macbeth merely as an interesting role to portray, but with maturity, the character's depth and the weight of his actions resonate more profoundly, transforming the performance into a more serious and introspective endeavor.
In practice
In a speech about the importance of understanding character depth in acting.
It took me two years to walk around a chair with ease; it took me another two years to learn how to laugh onstage - and I had to learn everything.
What is the main problem of the actor? It is to keep the audience awake, and not let them go to sleep, then wake up and go home feeling they've wasted their money.
Work is life for me, it is the only point of life - and with it there is almost religious belief that service is everything.
I don't know what is better than the work that is given to the actor - to teach the human heart the knowledge of itself.
Acting is an everlasting search for truth.
I'd like people to remember me for a diligent expert workman. I think a poet is a workman. I think Shakespeare was a workman. And God's a workman. I don't think there's anything better than a workman.
I love having my hands in the dirt. It is never a science and always an art. There are no rules. And if it comes down to me versus that weed I'm trying to pull out of the ground that doesn't want to come out? I know I'll win.
Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay, you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language but in their behavior as well.
When I'm writing, I write every day. It's lovely when that's happening. One day dovetailing into the next. Sometimes I don't even know what day of the week it is.
In my experience, when you're writing, you want the truth, and you don't want to be apologetic in any way. But there is something in writing, the complexity of it, that works against that aim.
The creator of the new composition in the arts is an outlaw until he is a classic.
The avant-garde theater is fun; it is free-swinging, bold, iconoclastic, and often wildly, wildly funny. If you will approach it with childlike innocence - putting your standard responses aside, for they do not apply - if you will approach it on its own terms, I think you will be in for a liberating surprise.
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