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Gary Oldman Biography (3-4)

(2006-01-12 19:30:28)
分类: 人物
Gary <wbr>Oldman <wbr>Biography <wbr>(3-4)
 
Part3:
 
    Having left school at 15 with next to no qualifications, Oldman took a job in a sports shop. Acting as a profession had not crossed his mind. But then came a moment, or rather two moments of revelation when, on TV, he saw the movies If... and The Raging Moon. Both starred Malcolm McDowell, the first as a schoolboy defying then machine-gunning the Establishment, the second as a young man trapped in a wheelchair and screaming against his lot. And both appealed to Oldman enormously. McDowell was expressing Gary's own feelings of loss, anger, alienation and imprisonment, and turning the whole mess into something positive. Here, at last, was something that made sense.
 
    Of course, it wasn't going to be easy to escape. Gary signed on at the Greenwich Young People's Theatre, but was soon drawn back into his former life. He did not enjoy the social life of south London, the pub culture, the bragging, the put-downs, the racism and violence. But his peers pulled him in and he acted his way through, even acting his way into a gang. For money, throughout these early years, he would work on assembly lines, as a porter in an operating theatre, selling shoes, beheading pigs in an abbatoir and, naturally, stealing things. But acting was still in his mind and, encouraged by drama teacher Roger Williams, he applied to RADA. They advised him to do something else, but he persisted and won a scholarship to the Rose Bruford College of Speech and Drama in Kent. One lecturer told him that, with his tenor voice, he would only ever play Puck, nevertheless he graduated in 1979 with a BA in Theatre Arts. He was on his way.
 
    Experience was what he needed, and he went into rep, first at York's Theatre Royal, then in Colchester, then with Glasgow's Citizen's Theatre. He'd study mime, the commedia dell'arte, everything. 1980 alone would see him appear in Massacre At Paris, Chinchilla, Desperado Corner and A Waste Of Time. And he loved it, loved acting all day, loved the collaboration, the notion of a group of supportive individuals working towards the same goal. He could re-route all the anger, tension and confusion of his youth into his parts, and quickly gained a reputation for intensity. Indeed, he was so wired up that, he later recalled,6-month West End run of Summit Conference in 1982, opposite Glenda Jackson, "nearly killed me".
 
    With his theatre stock rising, in 1983 he turned down the chance of a screen debut in a film to be called Mutiny and moved on to Chesterfield to play the lead in Joe Orton's 1964 masterpiece Entertaining Mr Sloane. It was a perfect role for Gary, himself a New Cross interloper in the comfy world of theatre. He moved on to Westcliffe and Edward Bond's 1965 effort Saved, another well-chosen work as it was an emotionally draining representation of the effects of cultural deprivation. Indeed, it had once been banned by the Lord Chamberlain due to a scene where a gang of bored kids stone a baby.
 
    15岁退学,几乎没有任何资历,Oldman在一家体育商店找到了一份工作,把表演作为职业的想法还没在他的头脑里出现过。但是紧接着,“启示”的一刻,更准确的说是“两”刻——到来了:他在电视上看到了电影If...和The Raging Moon,两部片子都由Malcolm McDowell主演,第一部演一个蔑视社会体制并用机枪攻击统治集团的男学生,第二部演一个被困在轮椅上、叫喊着抱怨自己的运气的男青年。二者都深深地感染了Oldman。 McDowell表达出了Gary自己的感情——失落、愤怒、孤立、禁锢,并把全部困境转化为某种积极的东西。最后这一点很有意义。
 
    当然,脱离这种困境并不容易。Gary 在Greenwich Young People's Theatre(格林威治青年剧院)签约工作,但很快又被拖回他以前的生活。他不喜欢伦敦南部地区的社会生活——酒吧文化、自吹自擂、轻蔑贬低、种族主义还有暴力。但是他的同伴们把他拖入其中,他全靠装假做戏应付过来,甚至装着加入一个小团伙。为了赚钱,在这些最初的日子里, 他在流水线上工作过,在手术室当过搬运工,卖过鞋, 在屠宰场杀过猪(屠宰场竟然用法文),当然,也偷过东西。但是他仍然没有忘记表演,在戏剧教师Roger Williams的鼓励下,他申请进入RADA学习。他们建议他去干点别的,他却一直坚持并赢得了进入Kent 的Rose Bruford College of Speech and Drama进修的奖学金。一位讲师告诉他,以他男高音的嗓音,永远只能演喜欢恶作剧的小精灵。尽管如此,他在1979年毕业并得到了戏剧专业的学士学位。他已经在路上了。
 
    他需要的是经验,他到有保留剧目轮演的剧场,首先是York的Theatre Royal ,然后在Colchester,再然后是Glasgow的Citizen's Theatre。他学习哑剧,即兴喜剧,所有的东西。仅仅1980一年,就能看见他出现在Massacre At Paris、Chinchilla、 Desperado Corner 和A Waste of time里。他喜欢这样,喜欢整天表演,喜欢与人合作,热爱那种一群相互支持的个体为共同的目标奋斗的想法。他能够把所有他年轻时的愤怒、不安和混乱融入他的角色里,并很快地凭感情强烈赢得了声望。事实上,他当时是如此的卖力以至于他后来回忆到,1982年Summit Conference在West End六个月的连演,和Glenda Jackson相反,“差点要了我的命。”
 
    随着戏剧方面积累的增加, 1983年,他拒绝了在一部叫Mutiny 的电影里做银幕初次亮相的机会,而是继续前往Chesterfield去扮演Joe Orton 1964年的杰作Entertaining Mr Sloane里的主角。对Gary来说,这是个再合适不过的角色,他自己就是戏剧这个世界里的一个来自New Cross的闯入者。 他接着出演了Westcliffe 和Edward Bond 1965年的作品Saved——又一部精选的作品,一次对文化丧失的结果耗尽感情的描写。事实上,这部戏曾一度被Lord Chamberlain 禁演,由于其中有一场一伙无聊的孩子用石头砸死了一个婴儿的戏.
 
Part4:
 
    Saved actually proved a landmark performance for Gary. He'd written to Max Stafford-Clark, artistic director of the Royal Court Theatre, and asked that he come see the show. Stafford-Clark received many letters from young actors, but Oldman's had something different - most notably a set of good reasons why he should be taken on at the Royal Court. So he went, and was impressed, both by Oldman's efforts and the fact that 30 members of the audience walked out. This was the kind of confrontational work for which the Royal Court had long been famous. Indeed, it was the Royal Court that had first performed Edward Bond's plays. And, as they were about to revive Bond's debut, The Pope's Wedding, Oldman seemed an ideal choice for the main role of the frustrated Scopey.
 
   
    This would be a major breakthrough for Gary. For one thing it would lead to a run of work with the Royal Court and Royal Shakespeare Company, performing Rat In the Skull, , The Desert Air, Abel And Cain, The Danton Affair and all three of Bond's War Plays. In 1986 would come Women Beware Women and Real Dreams, the next year The Country Wife and Serious Money. The Pope's Wedding also saw him accepted as British theatre's latest enfant terrible, sharing the British Theatre Association's Drama magazine award for Best Actor with Anthony Hopkins. Perhaps even more importantly, his performance was seen by director Alex Cox and producer Eric Fellner, then in the process of casting for an upcoming project, Sid And Nancy.
 
    Due to his concentration on theatre, Oldman's film career had been slow to take off. 1982 had seen him take a small part alongside Timothy Spall and John Altman (later EastEnders' Nasty Nick Cotton) in Remembrance, directed by Colin Gregg and written by Hugh Stoddart. This had followed the drunken, violent and hugely emotional last night of a gang of Royal Navy recruits about to leave on a 6-month NATO exercise. It was 1984, the same year as The Pope's Wedding, that we really had a taste of what was to come. This came with Mike Leigh's Meantime, which took Gary back into London's council estates, made ever more hopeless by the heavy hand of Margaret Thatcher. This would see Tim Roth as the shy and simple Colin, brother to a wide but lazy Phil Daniels, as they underwent family battles and a daily round of frustration and humiliation. Oldman would make a striking appearance as Coxy, a racist skinhead, a bully, a coward and incredibly dumb. He had clearly seen all this before.
 
    1984 would also see him in an episode of Dramarama, a series of imaginative TV plays for kids, and the miniseries Morgan's Boy, the hugely depressing but critically acclaimed tale of a Welsh hill farmer (played by Gareth Thomas - Blake in Blake's 7) struggling against modernisation and spiralling towards suicide. The next year would see a solitary screen appearance, in Honest, Decent And True, where he'd work alongside Adrian Edmonson and Derrick O'Connor in a London ad agency where the proto-yuppie staff are trying to launch a new brand of lager. The film would also mark the debut of Richard E Grant, later to pop up in two of Gary's projects - Henry And June and Dracula.
 
    事实上,Saved被证明是Gary一次里程碑式的表演。他曾写信给Max Stafford-Clark——Royal Court 剧院的艺术指导——邀请他来观看演出,Stafford-Clark收到过很多年轻演员的来信,但是Oldman的这封有些与众不同——最明显的是,其中罗列了一系列Royal Court应该雇佣他的充分理由。于是Stafford-Clark去看了演出,Oldman的努力表现和30位观众退场的事实都给他留下了深刻的印象——这正是Royal Court素以闻名的那种有争议的作品。实际上,正是Royal Court最先排演了Edward Bond的戏,而当时他们正要复排Bond的处女作The Pope's Wedding,Oldman 似乎是扮演主角——失败的Scopey 的理想人选。
 
    这对Gary来说是一个重要的转折点。一方面,给他带来了一系列在Royal Court 以及RoyalShakespeare Company(皇家莎士比亚剧团) 的工作,参演Rat In the Skull, The Desert Air,Abel And Cain ,The Danton Affair ,还有Bond的全部三部War Plays。以及1986年的Women Beware Women和Real Dreams ,和接下来一年的The Country Wife 和Serious Money 。The Pope's Wedding 还同时见证了他被承认为英国戏剧界最具突破力的新锐——他和Anthony Hopkins共同获得了British Theatre Association(英国戏剧协会)的 Drama magazine award(戏剧杂志奖)的最佳男演员奖。而比这更重要的可能是,他的表演被处在为即将开拍的电影Sid And Nancy挑选演员阶段的导演Alex Cox和制片人Eric Fellner看到了。
    由于对戏剧的专注,Oldman的电影事业起步缓慢,1982年,他在Remembrance 里扮演了一个Timothy Spall 和John Altman (他后来在电视剧EastEnders里演“讨厌的”Nick Cotton)旁边的小角色,这部戏由Colin Gregg 执导,Hugh Stoddart 编剧。关注的是一群即将去参加六个月的北约军事演习的皇家海军新兵们,出发前纵酒、狂热、情绪剧烈波动的一夜。1984年,也就是在The Pope's Wedding的同一年,人们才真正开始感受到将要到来的是什么。这种感觉是Mike Leigh的Meantime 带来的,这部戏把Gary带回了伦敦的政府统建房区——Margaret Thatcher(撒切尔夫人)的“铁腕”政策让这里变得更加绝望了。Tim Roth扮演害羞单纯的Colin——宽厚却懒散的Phi Daniels 的兄弟,他们经历着家庭冲突和日复一日的混乱、耻辱。Oldman表现惊人,他扮演Coxy ,一个种族主义的光头党、一个恃强凌弱者、一个懦夫而且不可思议的愚蠢。这些他都曾清楚地目睹过。
 
    1984年,他还在Dramarama——一部给孩子们看的充满想象力的电视系列剧的片段中出现过,还有电续剧Morgan's Boy,严肃地讲述一个威尔士山区农场主(由Gareth Thomas扮演,他在Blake’s7里扮演Blake——BBC的电视剧,查了半天才知道)与现代化抗争、不断消沉、走向自杀的非常压抑的故事。第二年,他唯一的银幕亮相是在Honest ,Decent And True里,片中他和Adrian Edmonson 、Derrick O'Connor 一起在一家伦敦的广告代理公司工作,那里的proto雅皮员工们正努力创立一个新的啤酒品牌。这部片子同样标志着Richard E Grant 的银幕处女秀,他后来在有Gary参加的两部作品Henry And June和Dracula里也露过面。

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