Book Description
Laurence Olivier was the most famous actor of the twentieth century, perhaps the greatest of all time.
Book Description
Megalithic menhirs and long sandy beaches, amazing diving and dizzy peaks, Napoleonic heritage and a vendetta-ridden past: this practical guide will help you to discover the essence of Corsica.
- 37 detailed maps
- special section on Corsica's famous walking trails, including detailed coverage of the GR20 route
- guide to the best dive sites, with expert advice for divers of all standards
- extensive listings of the most atmospheric places to stay
- delectable tips on food and the best eateries
- indispensable language section
Customer Reviews:
A very good guide.......2001-07-18
I was traveling in Corsica summer 2001. I had bought this guide and the Insight guide about Corsica. Together they was a very good match.
LP's book have a good diving and walking section. The walking section covers the famous GR20 route in particular. The diving section contains a lot about the diving possibilities and where the best dives are.
There are a lot of small villages in Corsica. Many of them is not mentioned in LP. So don't forget to explore.
Customer Reviews:
born for Shakespeare..........2007-05-25
some men are born for greatness..others aspire to it. Laurence Olivier was a man born for the stage and for Shakespeare. He found his fame through the Bard's plays, speaking the words as if as naturally as he were thinking them at the moment. This beautiful book takes you inside his world of make believe and never talks down to you but you see the world as he sees it. He did it with grace, elegance and a touch of class. He writes of his life long friendship with Ralph Richardson, John Gielgud and other notable stars. Read this book, then watch some of his finest films, "Wuthering Heights", "King Lear", "Richard III", "Marathon Man", "Spartacus", "The Entertainer", "49th Parallet". Truly one of generations legendary actors.
"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." [January 1970]
The Prequel To "On Acting." The Master Shares Details Of The Man Behind The Actor........2006-04-06
Sir Laurence Olivier imparts to us the intimate details of his personal life, before he became the great Shakespearean actor we all know so damn well. He shares his reflections on what he did in his life and what he regrets. No one could do this with more grace and humor than the Master Of The Bard. Rated PG for thematic elements and some language.
A LEGEND.......2005-02-28
Fantastic information in this book full of Wisdom. Interesting to hear about his struggles and his adventures. He also appreciated his friends. God Bless this Great Actor!!
Book Description
“To my mind already a classic, Mr. Coleman had access to the great actor’s archives, but obviously had his heirs’ permission to tell his story fearlessly.”—Richard Schickel, The Wall Street Journal
Sir Laurence Olivier met everyone, knew everyone, and played every role in existence. But the century’s most accomplished actor was as elusive in life as he was on the stage.
In this enthralling biography, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier’s private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure. For Olivier, acting and sex were inseparable: his relationships with his wives Vivien Leigh and Joan Plowright, and many others, became both a powerful inspiration and a constant torment, each feeding the other and driving Olivier to greater heights.
Here, in the first comprehensive and only authorized biography, Coleman uncovers the origins of Olivier’s genius and reveals the methods of the century’s most fascinating performer.
Customer Reviews:
Not Gay.......2006-06-11
People were aghast that Olivier could leave Vivien Leigh, one of the world's most beautiful woman, for Joan Plowright, whom even her mother said was plainer than a shaving brush, and they wondered what sort of man was Olivier anyhow, and this perhaps is what led rise to the suspicion that he was gay, and so when Spoto's book came out with the undocumented story that Olivier had had a happy affair with showman Danny Kaye, the only shock it provided was to the four people in the world who thought Danny Kaye was a straight man.
And now from what I understand, a forthcoming biography of Kaye will indeed set the record "straight" about him for once and for all. Terry Coleman is always gallant towards Joan Plowright in this book, but the truth is that, no matter how impossible Olivier must have been to live with, she was no picnic either. It wasn't that she was so fertile that he loved her, nor for her titanic talent on stage, no, I think he thought her lack of glamor denoted an authenticity that, whatever her other virtues, Leigh lacked at bottom.
It was a time of terrible stress for Olivier, what with founding the National Theater with Kenneth Tynan as his right hand man and dramaturge, and sleeping with Sarah Miles as sort of a sherbet between courses of Plowright's pregnancies, and beginning the long slide into films of the utmost inconsequence, so that moviegoers all over the world would pick up their movie guides and go, oh good, Olivier's made another picture, let's go, it will be two hours of silly popcorn trash! And then, at the very end, he made his finest film in forty years, Derek Jarman's incomparable WAR REQUIEM, which Coleman goes out of his way for some reason to denigrate, perhaps as part of his general anti-gay policy.
So for whatever reason, perhaps because Jill Esmond and Vivien Leigh are incredibly more interesting figures to read about than, oh, I don't know, Joan Plowright, the first half of Terry Coleman's book is lively and brisk, and then, perhaps after he meets John Osborne and John Dexter, the book slides into a slowdive which makes you long for Olivier's death, which is a shame. She--Vivien Leigh--was so much a better screen actor than Olivier was--that this book seems written by someone from Mars who has no idea about screen presence nor star quality. However, do buy this book, it's worth if just for the one 1930s RKO photo of Olivier bulking up while standing on his head, bare bottom gleaming out of a jockstrap, while nearby a muscular blond does some special coaching arrayed in a dazzlingly tight pair of fruit of the looms. The world's tiniest bar-bells lie scattered over the gym floor like dead flies, as though ignored in passion. Yowzer!
An excellent biography of the Prince of Players Sir. Laurence Olivier!.......2006-03-22
Sir Laurence Olivier (1907-1989) is arguably the greatest English speaking actor of the twentieth century. Among his immortal Shakespearean portayals on stage and screen are:
Hamlet; King Lear; Richard III; Romeo: Macbeth and all the major Shakespearean roles; several great films such as Rebecca, Pride and Prejudice; Wuthering Heights Henry V and Richard III.
He wed three times: (all were actresses) Jill Esmond; the troubled but brilliant Vivian Leigh (the immortal Scarlet O'Hara in Gone With the Wind and Blanch Dubois in Tennessee Williams'
classic "A Streetcar Named Desire"). and Joan Plowright.
Terry Coleman is a veteran British reporter and author. He has been designated by the Olivier family as the official biographer.
He portrays Sir Larry warts and all! Olivier was egocentric, high living and often profane. His tempestuous marriage to
the mentally ill Vivian Leigh is one of the classic love tales of the acting world.
Coleman gives us all the facts of Olivier's life but the reader still feels that Olivier was an enigma to himself and to the millions enthralled by his acting. Like most human beings he could be warm and caring and also aloof and cruel. His philandering is less than commendable. He comes across as a fairly shallow fellow concerned with his own glory and career. His directorship of the National Theatre was difficult and cost him
his health. Olivier is to be commended about the way he worked in films during his last years to enable his wife Joan Plowright and children to have financial security following his death.
Sir Larry along with Sir Ralph Richardson and Sir John Gieguld were the greatest thespians on the stage during their lives. Olivier was more of a natural actor and was an athletic and powerful force of nature.
All in all we shall not see his like again. Olivier was a high Tory who was conservative in his belief although his religous commitment seems weak (his father with whom he did not get along was an Anglican clergyman)
This is the one book on Laurence Olivier you want to read to know the story of a great actor! Well recommended!
Memorable.......2006-03-01
This is a memorable rendering of the life of a great, and complicated actor. Read it along with a biography of Vivien Leigh, and you have a great story.
A Compelling Look at the Genius of Olivier.......2006-02-07
In the 1950s, other girls had crushes on Tab Hunter, Troy Donahue and James Dean. My crush was Laurence Olivier --- maybe it was because my father taught Shakespeare, but really I think it was his beautiful voice, sensitive mouth, brooding Heathcliffian eyes...you get the picture. I kept a scrapbook; I even wrote to him, and he replied --- well, sort of: a blue aerogramme thanking me for my kind letter and signed "L. Olivier." I wish I still had it.
So you can see that I was disposed to be fascinated by OLIVIER, the new biography by journalist Terry Coleman. Actually, this is the first and only biography to be sanctioned by Sir Laurence's widow, actress Joan Plowright, and the Olivier estate. The advantage of "official" works, of course, is that the author gets access to all sorts of formerly unavailable personal papers. The downside is that he tends to be weighed down by the need to document endlessly, explain copiously, and set the record straight. This is not a fast-moving book. But it is a compelling and sometimes touching one that lets us glimpse the private side of an honest-to-God genius.
The view isn't always edifying. Olivier is revealed as self-absorbed, vulnerable, flirtatious, excessive, sometimes embarrassingly silly (in his letters to Vivien Leigh, his second wife and grand passion) and surprisingly shrewd about business (I remember being a bit shocked when Sir Laurence did American TV ads for Polaroid, but it turns out that years earlier he had made a deal for the production of Olivier cigarettes, giving him a lot of free smokes and a hefty percentage of the take). A self-described "liar," he isn't the easiest subject for a biographer to decipher, though Coleman does his best to sort out the facts from the embroidery.
Olivier could also be generous and devoted: The sad story of his deteriorating relationship to the mentally unstable Leigh (she was a victim of bipolar, also known as "manic," depression) often shows him to be remarkably forbearing. The demise of the marriage took years; it's not clear why --- loyalty, public relations? --- but the circumstances were not made public at the time. I remember being distressed by the breakup and blaming him (he had already moved on to Plowright), but the truth is, Leigh had affairs as well (a long one with actor Peter Finch) and they seem to have inflicted equal-opportunity suffering.
The issue of sexuality is a principal one for Coleman. A less respectful 1991 Olivier biography by Donald Spoto got a lot of play for its "revelation" that the actor was bisexual and had a long relationship with comedian Danny Kaye. In a seven-page Author's Note, Coleman acknowledges the probability of a fleeting early affair with a man (not Kaye) and observes that Olivier's on-stage, on-screen appeal had an element of androgyny, but he devotes most of the space to emphatic denials of Spoto's assertions. Indeed, Olivier's bedroom prowess (extensive, on the evidence; he was unfaithful to all three wives) appears to have been overwhelmingly hetero. Although Coleman seems to me to protest a bit too much, his evidence is persuasive --- and anyway, who cares? As Shakespeare wrote in Henry V (and Sir Laurence spoke so eloquently in his film of the play), "Nice customs curtsy to great kings," and Olivier certainly achieved almost the status of royalty.
What OLIVIER doesn't really do is explore how the complex, flawed man got to be a great actor (some would say the great actor) of stage and film. In the '80s Sir Laurence did write his own books on the subject (CONFESSIONS OF AN ACTOR and ON ACTING), neither of which I've read; perhaps Coleman felt that his main brief was to venture into the less charted territory of Olivier's intimate life. Still, it's a pity not to have had more on the meat of his profession. A hint of his far-sightedness: Although Olivier did not care for Look Back in Anger, the subversive play by the "angry young man" of British theatre, John Osborne, in 1956 he nonetheless asked Osborne to write him something. The result was The Entertainer, a signal departure for Olivier and one of his greatest triumphs. There are glimpses in the book, too, of his physical audacity; his perfectionism; his acuteness and courage not only as an actor but as a director and artistic administrator.
Olivier really did do everything in the theatre short of toting flats and sewing costumes; he was a key player in the development of Britain's National Theatre (one of the houses in the complex now located on the South Bank of the Thames is named after him). But Coleman spends far too long on the NT's protracted and highly political struggle to be born; unless you're a true aficionado, it unbalances the book.
More successful is his moving account of the last 20-odd years of Olivier's life: I had no idea (nor did most of the world) that he'd had a series of illnesses, many of them grave; that he suddenly began to suffer from stage fright and memory loss; that his stunning cameos (many in mediocre films) and full-scale late roles (I'm thinking particularly of the TV films King Lear and Brideshead Revisited, though he may be better known in the U.S. as the sadistic Nazi dentist in Marathon Man) had been managed despite these handicaps, with gallantry and reliable brilliance. Even his address to Queen Elizabeth II (and the assembled throng) at the opening of the Olivier Theatre was a masterpiece.
Olivier died in 1989. He would have been "tickled pink," as his son Richard noted, to have known that Westminster Abbey and St. Paul's --- London's foremost Anglican institutions --- were competing over who would get the glory of hosting his memorial service and housing his ashes. His final exit, too, was terrific theatre.
--- Reviewed by Kathy Weissman
Exhaustive Portrait of Olivier the Private Man Overshadows Olivier the Master Thespian.......2005-12-21
Before his death in 1989, Laurence Olivier wrote one of the more entertaining autobiographies on being a master thespian, 1985's "Confessions of an Actor". There was a pervasive modesty in his tone that came across at times as rather disingenuous. Now sixteen years after his death, we are finally provided the authorized biography of the world's leading Shakespearean actor. Whether he was the greatest actor of the last century is more debatable and one that author Terry Coleman doesn't really address in terms of the actor's gallery of performances. Instead, culling from Olivier's personal papers, Coleman paints an exhaustive portrait of an impersonal, driven man who was ruthlessly determined to become the greatest actor who ever lived.
Born the son of a clergyman in 1907, Olivier had an unhappy childhood and became passionate about acting in school. He did not touch Shakespeare until fellow actor John Gielgud asked him to trade roles with him in an Old Vic production of "Romeo and Juliet". This was his turning point and by 1937, Olivier was doing Hamlet, Henry V and Twelfth Night at the Old Vic. He was also wildly in love with the 24-year-old Vivien Leigh, and their two-plus-decade relationship is the stuff of legend. Coleman meticulously examines all the dynamics between the condescending Olivier and the mercurial, self-destructive Leigh, even though Coleman obviously has no love reserved for Leigh. Despite her legendary successes as Scarlett O'Hara and Blanche DuBois, Olivier was far more of an actor, and their professional competitiveness - actually more on his side than hers - was the crux of their marriage.
To the end of her days, Leigh had a narrow range, while Olivier knew no challenge beyond him. She, however, was arguably the greater star, and bitterness and jealously seeped into their relationship, especially when they worked together onstage in the 1950's, and he tortured her with his perfectionism. Olivier left Leigh for actress Joan Plowright in 1960, and while this provided some stability in his life with three children, Coleman is quick to point out that Olivier was not significantly changed temperamentally. What did change were Olivier's priorities - he established the National Theater in England and started accepting parts in putrid movies like "The Betsy" and "Inchon" to support his children. Toward the end of his life, he focused his legacy on the stage even though he developed debilitating stage fright.
Coleman's book is fascinating, but the one drawback is that he doesn't provide a career retrospective worthy of his subject. Personal insights aside (and he does get into Oliver's purported bisexuality), the author doesn't really capture the greatness of the actor in his journalistic-style writing. Writing about such a flamboyant figure like Olivier seems like a radical departure for Coleman, who has written books on Horatio Nelson and English emigration to America. He has even seen Olivier onstage but surprisingly does not share his impressions in the book. For someone like me who has enjoyed Olivier's performances in films such as "Wuthering Heights", "Rebecca" and "Sleuth", it's a bit of a disappointment. Regardless, there are plenty of penetrating insights into this complex man, and it's well worth reading for those alone.
Average customer rating:
- Valuable edition, easy to hold, fun to read
- I've always loved this play with its wonderful battle scenes
- Every soldier should carry a copy.
- Someone please give this book to Bush
- A popular play in an edition fabulously rich in helps
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Henry V (Lorrimer Classic Screenplays)
William Shakespeare , and
Laurence Olivier
Manufacturer: Harpercollins
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ASIN: 0930621166 |
Book Description
A new look at Shakespeare's play in accordance with the work of the Shakespeare and Schools Project, the National Curriculum for English, developments at GCSE and A-level, and the probable development of English and Drama throughout the 1990s. Cambridge School Shakespeare considers the play as theatre and the text as script, enabling pupils to inhabit the imaginative world of the play in an accessible, meaningful and creative way. Cambridge School Shakespeare approaches the plays in a new way, encouraging students to participate actively in examining them, to work in groups as well as individually, to treat each play as a script to be re-created, and to explore the theatrical/dramatic qualities of the text. The editorial comments cater for pupils of all ages and abilities, providing clear, helpful guidelines for school study. The format of the plays is also designed to help all teachers, whether experienced or inexperienced.
Download Description
This edition of Shakespeare's most celebrated war play points to the many inconsistencies in the presentation of Henry V. Andrew Gurr's introduction explains the play as a reaction to the decade of war that preceded its writing, and analyzes the play's double vision of Henry as both military hero and self-seeking individual. Professor Gurr discusses the context of Elizabethan law and morality and provides a comprehensive collection of source materials and a history of the play's stage and film adaptations.
Customer Reviews:
Valuable edition, easy to hold, fun to read.......2006-08-25
Once you get past the strange layout (described in other sections), this is a great edition of Henry V. It is easy and fun to read and offers valuable insights (not just for students either). Well worth a flutter.
I've always loved this play with its wonderful battle scenes.......2005-01-22
This play more than any others in the histories glorifies Englishmen and England. His characters in this one are larger than life, but each has their own limitations and flaws. The play covers the time of the Battle of Agincourt when the French King Charles was so sure of victory that he sent a messenger to Henry to ask him to give up and to pay a ransom before the battle. On the eve of the Battle of Agincourt, the English were outnumbered five to one, Henry's troops were on foreign soil and riddled with disease. The scenes where Henry dons a disguise and goes out amongst his troops to bolster their confidence are great. The English managed to triumph in this battle where all was stacked against them mostly because of Henry's leadership. This is such a sweeping story that it is hard to condense in a few words, the plot of the play, but it is a wonderful example of Shakespeare's skills as a writer.
Every soldier should carry a copy........2004-11-25
'We few, we happy few, we band of brothers.' What more need I say? Henry V is an imortal classic of western literature. And this edition is complete and accurate. See the film if you want, but be sure to read the words at least once. They are inspiring.
Someone please give this book to Bush.......2004-11-08
"Now, if these men do not die well, it will be a black matter for the King that led them to it."
Particularly poignant poetry in these times of pompous presidential sabre rattling and wars based on questionable facts.
A popular play in an edition fabulously rich in helps.......2003-06-30
This play is best known for the St. Crispian's Day "Band of Brothers" speech given by King Henry just before the battle at Agincourt. It is a powerful speech that rallies people at all times and everywhere. Sir Lawrence Olivier made a film version in 1944 during WWII and Kenneth Branagh made another as recently as 1989. You can count on there being more versions. Epecially so when computers can help them make spectacular battle scenes (that aren't really in the play) with less expense.
Audiences love this play and they should. There is a lot to like and enjoy. I think upon repeated readings Henry becomes a more equivocal character than he seems at first. And readers of the King Henry IV plays will know him before he became King Henry and know something deeper about his personality.
And of course there is the whole bit about the drive to France being sponsored by the Church to avoid confiscation of property by the Crown. Moreover, there is the slaughtering of the French prisoners, and his treatment of Falstaff (who dies offstage in this play). This isn't revisionist stuff, it is right there in the play, but it is easy to miss the first time you are trying to take in the play.
In any case, this Arden edition is the one to buy and read from. Why? Because it has the most authoritative text, but that is only the beginning. It also shows variants between the early sources. The notes at the bottom of each page of the play are simply fabulous. The editor includes not only helpful notes explaining what might be obscure in the text of the play, he provides sources Shakespeare probably used such as Holinshed and makes for some very interesting study. There are also some helpful notes on how various scenes have been performed over time.
And to make this sound more like an infomercial, you get more! The introduction provides great background material on the play, its sources, and how it has been performed throughout history. After the play, there is a photo reproduction of the first Quarto from 1600 and it is fairly readable. There are also a couple of maps showing the path of the English Army from Harfleur through other towns on its way to Calais and makes clear how they had to pass through Agincourt.
There is also a helpful genealogical table so you can see the confusing claims used by Henry and the French nobility to make their claims. And there is a doubling chart so you can see how theater companies can perform all the roles with fewer actors.
This is a great edition as are all the plays published by the Arden Shakespeare. The amount of work collected in these volumes is stunning and they will enrich your experience of the plays tremendously. I can't recommend them enough.
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- For fans of the Oliviers and English theater in general
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Olivier at Work: The National Years: An Illustrated Memoir
Royal National Theatre (Great Britain)
Manufacturer: Theatre Arts Books
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Binding: Paperback
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And That's Not All
ASIN: 0878300961 |
Customer Reviews:
For fans of the Oliviers and English theater in general.......2000-08-27
An 8X9 paperback with selected BL&WH photos to accompany personal tributes to Sir Laurence. Among the most well-known, especially to American audiences are, of course, Joan Plowright; Maggie Smith, Jeremy Brett, Michael Caine, Alan Bates. Shows Sir Laurence at work as director, actor and some casual shots. Also pictured are Derek Jacobi, Michael Blakemore, Peter Hall. Loved especially the number of photos with Joan Plowright as a younger stage actress. This book is done with professionalism and dignity. A good supplement to Olivier's autobiographies.
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- If you missed it in New York, here's your next best experience!
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Orson's Shadow
Austin Pendleton
Manufacturer: Dramatist's Play Service
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ASIN: 0822220881 |
Book Description
Sir Laurence Olivier. Orson Welles. Vivien Leigh. Joan Plowright. Kenneth Tynan. When these champions of the theatre get together to rehearse Ionesco's Rhinoceros, mere mortals best step aside. With lightning wit and scathing insight into the true nature of genius, Austin Pendleton's new play opens the private worlds of these very public people, exposing their warmth, their egos, and their glittering madness. Directed by Rosalind Ayres.
Starring: Caroline Goodall, Glenne Headly, Martin Jarvis, Robert Machray, Simon Templeman, Orlando Seale
Customer Reviews:
If you missed it in New York, here's your next best experience!.......2006-03-09
An amazing audio recording of a top-notch cast performing an intricate verbal dance that is Austin Pendleton's clever play. After hearing the recording, I wished I knew how to reach Joan Plowright, the only surviving notable who's a character in the play (the others being Orson Welles, Laurence Olivier, Kenneth Tynan and Vivien Leigh), to ask her if any of the play is actually true. Oh, to have been witness to the real-life drama that was going on during rehearsals of Ionesco's RHINOCEROS, which is the play that Welles, Plowright and Olivier were working on while Olivier's marriage to Leigh was falling apart. This recording is for the theatre lovers and theatre historians as well as the theatre artists.
Average customer rating:
- Just what I was looking for since years!
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The Complete Films Of Laurence Olivier
Jerry Vermilye
Manufacturer: Citadel
ProductGroup: Book
Binding: Paperback
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ASIN: 0806513020 |
Customer Reviews:
Just what I was looking for since years!.......2000-07-27
I am not the only one who is a great fan of Sir Laurence- but maybe the only one aged 16. Since I saw his first film (King Henry V.) I am looking for a book of his works. I was sorry to see that neither in Hungary, nor in England (at least in those shop which I visited) such works are not available. I would be happy if I was one of the first ones to have it on my bookshelf. Theatrical air and enchanting genius - that's what you see in his films. As the subject of the book is so great, I think it is worth to read!
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Confessions of an Actor: An Autobiography
Laurence Olivier
Manufacturer: Touchstone Books
ProductGroup: Book
Binding: Paperback
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ASIN: 0671779672 |
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The films of Laurence Olivier
Margaret Morley
Manufacturer: Citadel Press
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 080650613X |
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On Acting
