On acting

by Laurence Olivier

This is the first time that the reader has been able not only to go behind the scenes with the great man but also be up there on stage with him. Laurence Olivier talks to the reader as a friend and confidant; it is like being in a room alone with him, his sharp gaze concentrating solely upon you.

This book is not about his life - that has been done many times before, including his own remarkable memoirs; it is about his profession, his craft, of which he is master. Olivier tells you about his successes and failures, discusses the origins of the theatre, and even takes you on a detective journey back through Irving, Kean and Garrick to Burbage himself.

But most of all, through both narrative text and his letter to the young actress Joan Plowright (who became his third wife), he describes how he built and created his great classic roles, how he observed and studied, learnt and retained. He unfolds the onion layer by fascinating layer. He takes you from the dressing room to the stage and there, through his eyes, you relive the first nights of such diverse players as Richard III, The Entertainer, Othello and The Party. He talks of his stage fright as though it were happening at this very moment You can smell the excitement, feel the adrenalin pumping.

To live with Olivier from Henry V at the Old Vic in 937 through to his television Kin Lear in 1983 is a must for any lover of the magnificent art of acting. This is a unique and immediate account by the greatest actor of our time.

Genres: Nonfiction, Theatre, Biography Memoir, Memoir

270 pages, Hardcover

First published January 1, 1986

About the author

Laurence Kerr Olivier, Baron Olivier was an English actor and director who, along with his contemporaries Ralph Richardson and John Gielgud, was one of a trio of male actors who dominated the British stage of the mid-20th century. He also worked in films throughout his career, playing more than fifty cinema roles. Late in his career he had considerable success in television roles.
Olivier's family had no theatrical connections, but his father, a clergyman, decided that his son should become an actor. After attending a drama school in London, Olivier learned his craft in a succession of acting jobs during the late 1920s. In 1930 he had his first important West End success in Noël Coward's Private Lives, and he appeared in his first film. In 1935 he played in a celebrated production of Romeo and Juliet alongside Gielgud and Peggy Ashcroft, and by the end of the decade he was an established star. In the 1940s, together with Richardson and John Burrell, Olivier was the co-director of the Old Vic, building it into a highly respected company. There his most celebrated roles included William Shakespeare's Richard III and Sophocles's Oedipus. In the 1950s Olivier was an independent actor-manager, but his stage career was in the doldrums until he joined the avant-garde English Stage Company in 1957 to play the title role in The Entertainer, a part he later played on film. From 1963 to 1973 he was the founding director of Britain's National Theatre, running a resident company that fostered many future stars. His own parts there included the title role in Othello (1965), and Shylock in The Merchant of Venice (1970).
Among Olivier's films are Wuthering Heights (1939), Rebecca (1940) and a trilogy of Shakespeare films as actor/director: Henry V (1944), Hamlet (1948) and Richard III (1955). His later films included Spartacus (1960), The Shoes of the Fisherman (1968), Sleuth (1972), Marathon Man (1976) and The Boys from Brazil (1978). His television appearances included an adaptation of The Moon and Sixpence (1960), "Long Day's Journey into Night" (1973), Love Among the Ruins (1975), Cat on a Hot Tin Roof (1976), Brideshead Revisited (1981) and King Lear (1983).
Olivier's honours included a knighthood (1947), a life peerage (1970) and the Order of Merit (1981). For his on-screen work he received two Academy Awards, two British Academy Film Awards, five Emmy Awards and three Golden Globe Awards. The National Theatre's largest auditorium is named in his honour, and he is commemorated in the Laurence Olivier Awards, given annually by the Society of London Theatre. He was married three times, to the actresses Jill Esmond from 1930 to 1940, Vivien Leigh from 1940 to 1960, and Joan Plowright from 1961 until his death.

Reviews

[Bo Bilic · Rating 2 out of 5]

I'm torn on this book - on one hand, the opening and closing chapters where he discusses what acting means to him and how he approached the major Shakespearean roles made me remember why I fell in love with acting in the first place; on the other hand, the entire middle half of the book is nearly unreadable to someone who isn't intimately familiar with Laurence Olivier and his career, and he makes no effort to make it accessible to someone who may not be. It often reads as rambling, disjointed and even incoherent at times. He mentions in the prologue that he is not a writer, and in place of sitting at the typewriter and typing out his books, he would instead dictate aloud either to himself or to another person in the room, and then transcribe his words and stories into the novel. Hoh, boy does it certainly read that way.

Which leads me into my second conflict with the book - while he is incredibly charming, funny, and obviously very wise, Laurence Olivier also has an ego the size of a semi truck and he makes no attempt to hide it. Much of the book feels like him patting himself on the back for how good he *knows* he did in particular roles, and even at one point saying the Academy awarding him a Best Actor Oscar was a "wise choice." Yikes. Like I said, I'm torn on it - because he relays fascinating insights and stories from Richard III and Henry V and Hamlet, but the chapter on Othello has aged like milk and is painfully not self-aware (he even goes so far as to give advice to young actors on how to apply makeup so as to look "more African." EXTREME yikes.).

Overall, there are FAR better, more concise books on acting out there, and unless you're an ultra fan of Olivier who is already intimately familiar with his filmography, and you're looking for a memoir instead of a book on the craft of acting, then this should be an easy skip for you. 2/5

[Luke West · Rating 3 out of 5]

I’m sure writing about be acting – such an instinctive and ephemeral craft – would be difficult, but Olivier hardly seems to try. This is a rambling and sometimes rather mad mix of anecdote, essay, and ego. Best parts are his consideration of his great stage roles – which made an interesting comparison with Judi Dench’s similar reflections on Shakespeare published last year. Both emphasise the importance of the text, and Dench is clearly working in the wake of Olivier’s innovations in verse speaking. And while humility is not Olivier’s strong suit, both actors make the collaborative efforts of putting on a show seem an absolute hoot.

[Andrew Cockcroft-Charles · Rating 5 out of 5]

This is my second time reading this book. First when I was 17 years old, and now just turning 22.

I have seen criticisms of the moral/political nature, which I will not endeavour to address, but also criticism of Olivier's present ego within these dedicated pages, which I will endeavour to address.

Olivier stands head and shoulders above nearly all successful actors, who ever lived. He is among an elite group of performers, who dedicated their lives to the theatre and the progression of the art of acting. To condemned this book based on a 78 year olds writings, of himself, from days of high glory and monumental perseverance is silly. This man was as generous as he was talented. To publish these insights and to reveal his secrets, is an act of humility as far as I am concerned. It is an honour to read the writings of a giant when so many have come before him and left very little. To feel close to Olivier so long after his departure and to dream of his performances, is true inspiration for ones own ambition. The challenge he sets out for the young actor will only make him wilt or wish for comparable prowess. To meet Lear at the histrionic gates, should be every actor's aspiration.

[Mdaly · Rating 3 out of 5]

I found the book a bit disjointed because I didn't read his autobiography so, other than being a noted Shakespearean actor who went on to have a distinguished movie career, I knew little about his back story.
Naturally Olivier doesn't dwell on his life story but more biographical detail would have helped. Laurence got through three wives, all actresses. In some way it's odd for such an actor to be so in touch with the human condition and yet make a bags of his own relationships. It would have been interesting if he had attempted to square that circle in this book but in many ways the treatment was somewhat mechanical.

[Karl · Rating 4 out of 5]

As an actor myself, I was engrossed in Olivier's detailed explanations of how he created some of his celebrated characters. Especially interesting were his descriptions of his Shakespearean performances and his early film work. He has wonderfully insightful things to say about many of the people he worked with: Ralph Richardson, John Gielgud, Vivien Leigh, Marilyn Monroe, William Wyler, Katharine Hepburn, John Osborne, Tyrone Guthrie, Greta Garbo, Alfred Hitchcock, Michael Caine. And he's not afraid to call out those whose methods he did not like: Otto Preminger, Lee Strasberg, Jed Harris, Samuel Goldwyn. Still, this is a pretty nuts and bolts treatise about the craft of acting. Confessions of an Actor is more the autobiography, if that's what you're looking for

[iosephvs bibliothecarivs · Rating 5 out of 5]

This final book by Sir Laurence, generally acknowledged as the greatest actor of the 20th century, is equal parts memoir and acting instruction. Written only three years before his death in 1989, it provides a unique look into the acting profession on stage and screen by one who was in the middle of it from the 1920s onward. Alongside ideas about character development and stage makeup are reminiscences about other greats: Gielgud, Richardson, Wyler, Barrymore, Welles, and many more. I highly enjoyed this book and am grateful the author chose to record both his advice and memories before leaving us to return to the warm stage lights in the sky.

[Jillian · Rating 4 out of 5]

On Acting is a delightful mix of craft talk, literary discussion, autobiography, theatre/Hollywood gossip, and above all passion for everything acting is and can bring. Especially interesting were his explanations of his famous Shakespearean roles and his opinions of fellow actors, including Michael Caine, John Gielgud, and Vivien Leigh. I could have done with less of the first chapter rehashing theatre history (not because I'm uninterested in the topic, but because I can read about it elsewhere) and more of just about everything else.

[David Olsen · Rating 4 out of 5]

Unless you are an actor or a person deeply interested in the career of one of the greatest actors to have ever lived, this book may be a challenge for you. But, for those voracious actors out there, this book will go down like a cup of hot cocoa on a cold winter's night. It certainly did for me! A certain love for Shakespeare and the classics would help, too.

[Bobbie Darbyshire · Rating 2 out of 5]

I read this for research into a character I'm writing, and it was useful for that. I'd have been disappointed if I was looking for technical acting advice. There are some snippets, but it's mostly reminiscence of parts he played and plays/films he directed. Some eye-popping anecdotes about Ralph Richardson.

[William Rivard · Rating 4 out of 5]

Olivier provides an appreciation of the Shakespeare 'tradition' from the high days of the Globe through the era when he was the king of the London stage. His outlook on film is insightful as he was a prolific actor. Not a student of the stage but I enjoyed this book very much.

[Cheyenne · Rating 5 out of 5]

I, as a person interested in acting found this book fantastic. If you are interested in the acting craft and the greatest actor of the 20th century you'll like this book. Simple as that.

By the way his name is spelled LAURENCE not Lawrence

[Chris Kubik Cedeño · Rating 5 out of 5]

Absolutely wonderful. I'm a director and this really contextualized a lot of approaches to acting as well as the interesting intersection between film acting and play acting. Also, it was well-written.

[KC Marie Pandell · Rating 5 out of 5]

Charming, frank, funny. Olivier bares his soul for the fellow actor, dropping pearls of wisdom while taking us on a most delightful journey. Full of wonderful artistic device, any fan of is work will enjoy it, and any burgeoning actor will find great use in it.

[kabukigal · Rating 4 out of 5]

Totally fascinating glimpse into Olivier's craft and a glimpse of behind-the-scenes British theatre.

[Thahood · Rating 5 out of 5]

Couldnt put it down. Olivier is a great writer. Loves his descriptions about his characters and anecdotes etc. His passion for acting is evident throughout. A book i can easily read more than once

[Ben · Rating 2 out of 5]

Interesting, but Olivier comes across, through his writing, as very pompous.