로렌스 올리비에
우리는 원숭이다. 우리는 따라하고 흉내낸다. 우리는 연기를 한다.
연기는 마조히스틱한 자기 과시이다. 어른의 직업이라고 하기는 어렵다.
싸인을 모으는 것은 성적인 굶주림에서 나오는 호기심에 의한 가장 비 매력적인 행위이다.
배우는 우주를 자신의 손바닥 안에 만들수 이있어야 한다.
너가 하는 모든 일에 합당한 이유를 가져야 한다.
나는 삶을 단순하게 본다. 그저 눈을 뜬 채로 나아가면 된다.
그것은 유치한 상상 게임과 같다.
그가 잠시 길을 잃었다면, 그는 다시 곧바로 꿀 속으로 다이빙하곤 했다.
When you’re a young man, Macbeth is a character part. When you’re older, it’s a straight part.
We have all, at one time or another, been performers, and many of us still are – politicians, playboys, cardinals and kings.
There is a spirit in us that makes our brass to blare and our cymbals crash-all, of course, supported by the practicalities of trained lung power, throat, heart, guts.
The office of drama is to exercise, possibly to exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring the relief of tears. Disgust and terror are the other points
Surely we have always acted; it is an instinct inherent in all of us. Some of us are better at it than others, but we all do it.
My stage successes have provided me with the greatest moments outside myself, my film successes the best moments, professionally, within myself.
Living is strife and torment, disappointment and love and sacrifice, golden sunsets and black storms. I said that some time ago, and today I do not think I would add one word.
Lead the audience by the nose to the thought.
I’m rather bored by the subject-meaning me. It’s a sort of a yoke, but at times you know, a yoke is a kind of comfort. And it’s always there.
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 should be soaring away with my head tilted slightly toward the gods, feeding on the caviar of Shakespeare. An actor must act.
I often think that could we creep behind the actor’s eyes, we would find an attic of forgotten toys and a copy of the Domesday Book.
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.
I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.
I believe in the theater; I believe in it as the first glamorizer of thought. It restores dramatic dynamics and their relations to life size.