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| Thành viên gia đ́nh hậu duệ của Larry | |
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| Tweet Topic Started: Oct 5 2008, 09:21 PM (7,268 Views) | |
| charon | Oct 5 2008, 09:21 PM Post #1 |
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![]() Người nhà c̣n sống của Larry tập họp tại ngôi nhà Westminster Abbey cho buổi kỷ niệm ngày sinh nhật lần thứ 100 của Larry ngày 22/5/2007 Joan Plowright, vợ thứ 3 và cuối cùng của ông đứng bên trái ông thị trưởng áo đỏ. Con gái Julie Kate đứng bên phải ôm thằng bé, con gái Tamsin đứng bên trái Joan Plowright, cháu nội Troy (thằng bé) và Alessandria, và Tarquin và vợ ông đứng xa phía trái ảnh (ông già đeo kính) Thằng bé đứng trước Joan Plowright là Wilfred Dutton, con trai của Tamsin ![]() con gái út của Larry - Julie-Kate và vợ ông Joan Plowright trong đám tang Larry năm 1989 |
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| charon | Oct 5 2008, 09:26 PM Post #2 |
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![]() 3 người con của Larry với vợ thứ 3 Joan : Richard, Tamsin, Julie-Kate ![]() Larry với con trai Richard và con gái Tamsin trong văn pḥng của ông ở nhà hát quốc gia năm 1964 ![]() Larry & Richard |
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| charon | Oct 5 2008, 09:38 PM Post #3 |
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![]() Jill Esmond (ng vợ đầu tiên) với con trai Tarquin năm 1936. Khi 2 tuổi Tarquin bị viêm màng năo suưt chết. ![]() Larry và con cả Tarquin, sau sân khấu sau buổi diễn của Christopher Fry: "Venus Observed". ![]() ![]() Jill, Tarquin và Larry vào buổi lễ rửa tội cho Tarquin. Gerard Olivier(cha của Larry) đứng cạnh bên phải Eva Moore, mẹ Jill. Larry đến muộn. Ông c̣n đang quay phim Fire Over England với ng t́nh mới Vivien. |
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| charon | Oct 5 2008, 09:44 PM Post #4 |
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![]() Larry và con trai Richard ở Brighton, cuối những năm 60 ![]() Jill và Tarquin ![]() Larry và con cả Tarquin những năm 70 |
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| charon | Oct 5 2008, 09:50 PM Post #5 |
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![]() Tarquin bị ốm ![]() Taquin Olivier (bên trái) với cháu chắt của Charles Darwin ở đâu đó giống như sân ga. Họ là bạn học ở Eton ![]() Tarquin (ngồi trên bàn) với C. Aubrey Smith và bà ngoại Eva Moore (ngồi bên trái ghế dài) trong buổi 'Scotland Yard Investigates" |
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| vivien_leigh | Oct 10 2008, 01:44 AM Post #6 |
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Julie-Kate Olivier (con gái út của Larry cũng là diễn viên và hoạt động trong ngành điện ảnh và kịch) Date of Birth 26 January 1966 Trivia Second daughter of actors Sir Laurence Olivier and Dame Joan Plowright, sister of the director Richard Olivier and the actress Tamsin Olivier, a half-sister of Tarquin Olivier and a niece of the television executive David Plowright. Các phim đă đóng: 1. "Casualty" .... Laura Masterson (1 episode, 2007) - Meltdown (2007) TV episode (as Julie-Kate Oliver) .... Laura Masterson 2. "Doctors" .... Jane Taylor-Browne (1 episode, 2003) - Collateral Damage (2003) TV episode (as Julie-Kate Olivier) .... Jane Taylor-Browne 3. The Waiter (1993/II) .... Girl 4. Duel of Hearts (1992) (TV) .... Cassie Breccon 5. "Capstick's Law" .... Pat Schofield (1 episode, 1989) - Episode #1.6 (1989) TV episode .... Pat Schofield 6. Conquest of the South Pole (1989) (TV) Chủ nhiệm sản xuất: 1. Peace One Day (2004) (production supervisor) ![]() phim Candle in the Dark: The William Carey Story ![]() ![]() Vở kịch Change of Heart by Rosemary Friedman NEW END THEATRE (2004) Cast: Gary Condez, Emilio Doorgasingh, Estelle Morgan, Clive Moore, Julie-Kate Olivier, John Kay Steel ![]() ![]() ![]() ![]() |
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| vivien_leigh | Oct 10 2008, 01:48 AM Post #7 |
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Thông tin về đám cưới của Julie-Kate Olivier Daughter's Wedding Anguish The daughter of legendary British actor Laurence Olivier may be banned from getting married in the church where her father's funeral rites were staged. Actress Julie-Kate Olivier had planned to wed fiance Paul Bigley, of Shakespeare In Love fame, at 12th century St James's Church in Ashurst, Sussex, England. But new rules mean only couples who live within the immediate area are allowed to tie the knot at the picturesque place of worship. Non-locals can apply for a license, but they are rarely granted. Bigley says, "Because it is such a beautiful church, lots of couples drive past and think, 'We'd love to get married there, ' so the church has imposed restrictions. The vicar says that despite Julie-Kate's family's close ties, he isn't allowed to make an exception and we have to apply for a special licence. We are just hoping it is OK." --------------------------------- Julie-Kate Olivier Female Place of Training: London Academy of Music and Dramatic Art Course: 3 yr. Acting Graduation Date: 1988 |
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| vivien_leigh | Oct 10 2008, 01:49 AM Post #8 |
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1 số tin tức về Julie-Kate Macbeth By William Shakespeare Imperial Theatre, Saint John 3 March 1995 It's been about 400 years since it was written. About 300 since its writer has been acknowledged as Top Poet, as THE writer of the English language. And over 100 since he acquired absolute dominion over the curricula of English courses. For most of that time, Shakespeare has represented the challenge every theatre company feels it must meet; and Macbeth -- this forbidding domestic tragedy of a regicide and his ambitious wife, of the fatal lure of power and a few flashes of virtue and sympathy in the blood and darkness -- has been among the most tempting and dangerous of his works. Whenever the challenge is taken up anew, we have another chance to see why it's worth trying again. It's admirable and courageous of the Saint John Theatre Company to have taken up the challenge for us. It's worth watching any group of actors engage themselves and us with this rich and resonant text, and with these dark and enigmatic characters. There are some good ideas in this production. It is a good idea to leaven the local company with some guest artists, professionals like Julie-Kate Olivier, who plays Lady Macbeth, Tom Kerr, who directs, and Peter Smith, who designed the production. It is a good idea to have staged it on a field of war, invoking scenes we've all seen on television of devastated urban landscapes and refugee children. It is a good idea to bring Shakespeare back to the magnificent Imperial Theatre. Unfortunately, there are some bad ideas as well. The most serious is the idea that what the text says doesn't much matter, and has no consequences for people's actions. This problem runs through the production, from small matters to large ones. For a small instance, Macbeth says to his lady, "Come, we'll to sleep," but they stay for a blackout. Or large one: the entire scene around the apparition of Banquo's ghost depends on there being a banquet, with guests at a table, but in this production everyone stands around as though at a cocktail party. This renders half the lines in the scene meaningless: Why would Ross invite Macbeth to sit when there are no chairs? Why does Macbeth drink to the general joy of the whole table when there's no table in the room? This is not a minor matter, not simply a misplaced table or something. It has consequences for the way the audience and the company attends to the language. And it is, after all, the language that drives this play and holds it together. Its plot isn't very complex or very convincing, and many of its characters are cardboard cutouts. What it has, undeniably, is the wonderful, hypnotic flow of some of the most wonderful soliloquys in the language, and the patterns of language which make us realize, right from the first words he speaks, that Macbeth is doomed to make his fatal mistake. If we're invited to ignore that language, the consequences are dire. If we haven't seen the language as the central factor in the play, there will be consequences. By the end, when Macduff faces off against Macbeth for the crown, we'll see it as just another wrestling match, not the unavoidable catastrophe of a promising life gone wrong. If we haven't cared intensely when Lady Macbeth assures her lord that "What's done is done," we'll never notice that, later, Macbeth himself hopes that something done like a murder could actually be over and done with; or that, even later, the lady herself laments the fact that "what's done cannot be undone." These patterns are not just games with language, they're what drive the whole play. To invite us to ignore the language is to invite us not to care. This production, unfortunately, does that, and by the middle of the second half it's lost most of its momentum. There are, however, some moments worth waiting for. Julie-Kate Olivier made me believe in Lady Macbeth's guilt-ridden sleepwalking; even more, she made me believe that it was an act of courage for her to invoke the ministers of darkness to strengthen her resolve. Robert McLardy, as Banquo, convinced me that it was possible to be tempted by the prophecy of greatness and still resist it. I was disappointed, however, in Stephen Tobias' Macbeth. It's a tremendously difficult role, and he gave it a valiant try, but I was never convinced that he had a clear model of what his Macbeth's motives were. The first two acts of this play -- in most modern productions it's the first half -- constitute one headlong, compelling rush to destruction. To become involved, we need to have a clear sense of just what Macbeth thinks he's doing, and why. Tobias, however, seemed content to let the language take him back and forth, from "I yield to that suggestion" to "we will proceed no further in this business" to "I am settled, and bend up each corporal agent to this terrible feat," with little sense of struggle or difficulty. There are some important technical and design difficulties, too. The three children who arise from the rubble at the beginning -- and who I expected, and hoped, might turn out to be the witches -- don't return, and, indeed, the whole powerful invocation of Bosnia or a modern war scene is abandoned by the end. The sound system, impressive as it is technically, rendered the knocking at the door during the Porter's scene after the murder singularly uninsistent. In spite of the fact that there is a very large cast, the stage seemed, often, too large for the production. The placing of characters on the stage for instance, during the early scene in which Macbeth meets King Duncan often seemed arbitrary and static, more like a pageant than a military operation, a party, or an arrival at a castle gate. Flawed as it is, there are moments of visual power and poetic clarity in this production that make it worth seeing. I would not, however, count on it to change the mind of a student who thinks Shakespeare's the sort of thing your eleventh grade English teacher says is good for you. People who already care intensely about such matters will find much to engage them in this production; I'm afraid, though, that that student will not. |
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| vivien_leigh | Oct 10 2008, 01:51 AM Post #9 |
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Julie-Kate Olivier Julie-Kate Olivier, daughter of Sir Lawrence Olivier and Joan Plowright, has mostly starred in stage projects, such as in The Constant Wife (1999), which was shown at the Atlantic Theatre Festival. In this production by director Tom Kerr, Julie successfully played the role of Constance. Other theater performances include Shakespeare's The Tempest (1998) where she gave a wonderful Miranda at the City of London Festival, Cigarettes and Chocolate (1997) directed by Chris G. Sandford and Macbeth (1995). In this Shakespeare production with the St. John's Theater Company and again Tom Kerr as the director, Julie played the part of Lady Macbeth. In 1998 she performed the role of Kitty in the feature film, A Candle in the Dark, directed by Tony Ten. On television Julie-Kate Olivier appeared as Cassie Breccon next to Geraldine Chaplin and Michael York in the drama, Duel of Hearts (1992), based on the Barbara Cartland novel. Credits 1. The Constant Wife (1999, Stage), Atlantic Theatre Festival 2. A Candle in the Dark (1998, Film), City of London Festival 3. The Tempest (1998, Stage) 4. Cigarettes and Chocolate (1997, Stage), Man in the Moon Theatre 5. Wait until Dark (1997, Stage), Newbury Watermill Theatre 6. That Good Night (1996, Stage), Small Hythe Productions 7. Macbeth (1995, Stage), St John's Theater Company 8. Rebecca (1992, Stage), Hornchurch Queen's Theater 9. The Waiter, (1992, TV) 10. Duel of Hearts (1992, TV) (...) |
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| vivien_leigh | Oct 10 2008, 01:59 AM Post #10 |
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![]() CHRONICLE By SUSAN HELLER ANDERSON Published: November 19, 1990 The family that plays together stays together? The Olivier family will work together for the first time when they open later this month in J. B. Priestley's "Time and the Conways" at the Old Vic in London. JOAN PLOWRIGHT , Sir Lawrence Olivier's widow, plays Mrs. Conway. The actors married in 1961 and Sir Lawrence died last year. Their daughters, TAMSIN OLIVIER, 27 years old, and JULIE-KATE OLIVIER , 24, play two of her children. And it is being directed by their son, RICHARD OLIVIER, 29. Mr. Olivier said that although his family had never tried to work together before, his mother had been thinking about getting back to the theater after his father's death. Mr. Olivier had liked a performance of "Time and the Conways"; Tamsin had already appeared in the play, and the idea evolved. The only problem working with his family, Mr. Olivier said, was what to call his mother during rehearsals. He settled for "Mrs. Plowright." |
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| vivien_leigh | Oct 10 2008, 03:07 AM Post #11 |
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Hon. Simon Tarquin Olivier * 21.08.1936 Cha: Sir Laurence Kerr Olivier, 1st Baron Olivier * 22.05.1907 Mẹ: Jill Esmond * 26.01.1908 Hôn nhân: 1965 Riddelle Gibson Con: * Isis Olivier Tarquin Olivier (con trai dau) ve gia` ![]() ![]() ![]() Tarquin & Bà Joan Plowright (đứng 2 bên cái ông đang phát biểu) trong buổi khánh thành tượng đài Laurence Olivier ở Ngân hàng miền Nam, ngay cạnh Rạp hát Quốc gia (London) tháng 9 năm 2007 ![]() ![]() A new statue of Laurence Olivier has been installed on the South Bank riverside walkway next to the National Theatre he helped to establish. A new statue of Laurence Olivier as Hamlet, created by the sculptor Angela Conner, was unveiled by members of Olivier's original National Theatre company on Sunday afternoon as part of a series of events to celebrate the centenary of the legendary actor's birth. Lady Olivier (better known as Joan Plowright) was joined by Anna Carteret, Gawn Grainger, Charles Kay, Geraldine McEwan, Ronald Pickup and Sheila Reid to perform the ceremony. Speeches were made by the National Theatre's chairman Sir Hayden Phillips, Laurence Olivier's son Tarquin and Lord Attenborough. More than 200 donors, mainly theatre and film people and institutions, contributed to the Laurence Olivier Centenary Statue Appeal. The statue is situated in the corner of Theatre Square and faces the auditorium in the National that bears Olivier's name. Sách tự viết về ng cha của ḿnh: |
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| vivien_leigh | Oct 10 2008, 11:27 PM Post #12 |
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3 người con với vợ Joan Plowright Hon. Richard Olivier NS: 03.12.1961 Hôn nhân: 1987 Shelley Dupuis Children * Troilus Olivier * 1988 ------------------------ Hon. Tasmin Olivier (Tamsin Agnes Margaret Olivier ) NS: 10.01.1963 tại Hove, Sussex, Anh Hôn nhân 06.1995 Simon Dutton Tamsin cũng là 1 diễn viên --------------------------- Hon. Julie-Kate Olivier NS: 26 /1/1966 |
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| vivien_leigh | Oct 10 2008, 11:39 PM Post #13 |
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Richard Olivier![]() The son of Sir Laurence Olivier and Dame Joan Plowright, Richard Olivier has created a highly effective presentation using the arts and in particular stores from Shakespeare, to focus on leadership skills, presentation techniques and creativity. Richard has been a leading theatre director for over ten years, most recently directing "Henry V" and the "Merchant of Venice" at the Globe Theatre. Richard is also a Visiting Fellow at the Cranfield School of Management and a Visiting Lecturer with the Industrial Society. He argues that the ways in which organisations are moving forward can no longer be understood with the old business models, language and analysis that has served managers in the past. Whilst the rational manager has got business where it is today, he or she will not be able to take it where it needs to go. The leaders of tomorrow will need to be ordinary human beings with extraordinary talents. These include vision, creativity, imagination, flexibility, effective communication, the capacity to embrace constant change and the ability to manage the emotional impact of all these. Richard gives an amusing and memorable performance. Shakespeare's Henry V is a rich source of inspiration for his presentations. A near perfect story of successful leadership - it's not just the famous speeches that offer lessons for the modern manager, but also the intricate subtleties of incidents throughout the play. From the first time to the last scene the plot reflects invaluable insights into leadership. "I found it a completely new way of looking at issues of management and leadership" Peter Beevor, Cable and Wireless. "Words simply cannot express how much I enjoyed the course. I have enough new material and ideas to last me the rest of the year" John Perkins, Matheson Trust Co (Jersey) Ltd "You took everyone by storm. I found the leadership ideas that you drew out of Henry V fascinating and intriguing. It was tremendous" Caroline Pickering, London Housing Association "It went far beyond my expectations. What it taught me will take my presentations to a new level. Mike Savage, Royal Mail -------------------------------------------------- An Interview With Olivier's son, director Richard Olivier From the London Times (April 11, 1999) Being Laurence Olivier's son was hell, but after years of anger Richard Olivier has finally found how to be himself Once more into the breach with my father My father died 10 years ago this July, and I still ask myself: what does it mean to have someone of his magnitude as a father? As a child I felt I could never quite get his attention. I could see that he was not as lively with me at home as when he was on a stage or a film set. It made me feel miserable, but when Dad wasn't working he was unhappy. It felt as though the National Theatre was his favourite child and we, myself and my sisters, were his stepchildren in Brighton, waiting to see him at weekends. And then he was often tired and reading scripts. As a teenager I didn't know what was wrong with me. I had this deep sense of loneliness and emptiness. When Dad died it was a huge shock. I went numb. I hardly cried at all. Something inside me shut off and I started acting almost like a machine. I wanted to run away from the past and pretend it hadn't happened. I withheld my emotions and became a workaholic - like my father. Like him, I wasn't able to relate to people properly. My wife wished I would put some of the energy into my family that I put into my work. Like my father, I'd sit at home waiting for the phone to ring for the next job. Ultimately, however, my father's death catapulted me into looking at my unhappiness. Now I feel I have been on a journey that has come full circle. For years I felt very bitter and resentful. As a child it was hard to understand that he preferred playing Othello to being with me. I went through a lot of angst and anger. And I do think my father's love of work was unbalanced. He got to the point that he was so attached to the buzz that he would be depressed if he wasn't working. When he was older, he didn't enjoy the fruits of a lifetime's work: being with his family or seeing friends. Much later, when I was directing my mother on stage in Time and the Conways, I heard her telling a reporter: "Of course I love my family, but the theatre is my life." I was shocked. I wasn't sure if she quite knew what she'd said. I decided to question everything seriously for the first time. I went into a dark night of the soul: I joined a men's group and went into therapy. I went on men's retreats. I found there was something magical about being with a group of men who are not together to make business deals or to get pissed or to see who's better at football. The whole point of men's retreats is get to a place where men can drop into themselves and have what I would call an "authentic experience". I discovered that we walk through life wearing masks and we play roles. My father wore masks. But he didn't know when he was and when he wasn't. On a retreat I never thought of my father. He became one of the layers I had to peel off with my mobile phone. I don't know what he would have thought of what I was doing. But I think he would have been happy for me. Because I know now that he loved me. I became very involved in what is now a growing men's movement. At first, it was considered a joke - men baring their breast and hugging trees; but men feel duty-driven to work 40 or 60-hour weeks and once you're on the treadmill, it's hard to stop. Men like my father become defined by what they do, so they feel good only when they're working. Sometimes on retreats we send men out into the woods for four hours and tell them not to return until they've had a good idea. What happened to me was a strange quirk of the men's movement, therapy and my famous father. People came to talk to me because of my father and I became a much more public person than I had anticipated. For better or for worse I decided to be honest. I blamed my father for my feelings of emptiness and unhappiness. That felt necessary, but I'm glad it's over. I have been reading a wonderful German psychologist called Alice Miller, who says you have to go through a stage of blaming your parents, because if you pretend your childhood was wonderful you will never really find out who you are. Now I accept what happened to me in my childhood. I am no longer angry. It's a great relief that I no longer blame my father, because I have so much more energy for the things I care about. And, having gone through the blame and rejection, I must forgive myself for having blamed my parents: I mustn't get stuck in the guilt for having blamed them. I have come out the other side. Of course, it's very peculiar that as I was trying to reject my parents' way of doing things, I was working as a theatre director. And five years ago I wondered how I could bring together these two great passions of my life: the men's movement and working as a theatre director. I began talking to the theatre director Mark Rylance about Shakespeare's plays and how they could be used as stories of personal development. I was also interested in how my work in the theatre and the men's movement could help the development of business organisations to make work more constructive. We talked about the nature of kingship in everyone and how this could help them to be leaders. Two years ago Rylance asked me to direct Henry V at the Globe. It was the first time I'd ever done a Shakespeare play and the first time I'd ever done something so completely identified with my father. My dad had started his film of Henry V in a reconstruction of the Globe Theatre. Years before, if I'd directed this play I would have been proving myself as an Olivier. Now, because I was ready to give up being a theatre director, I didn't care. I felt free to approach Shakespeare in my own way, involving my knowledge of myth and ritual and emotional intelligence through my work in the men's movement. It was an all-male production and it was fabulous. We decided to develop our Henry V workshop to bring it to managers in business. Some managers felt they couldn't be inspiring leaders. We'd say: "If you were pretending to be Henry V and you had to get all these men into that bloody breach, how would you do it?" They'd say: "Well, if I was Henry V I would probably just do . . ." And they'd suggest something. We would say: "Great. You just did it. Now go do it with your staff." What was intriguing for me was the idea of the good leader being a good actor. Sometimes you have to bluff and pretend - be an actor - because you have to inspire others. At last I felt, if not on an equal stage, then on a level platform from which I could look at my father's life. I knew, at that moment, it wasn't about fame or being a respected member of the profession. Deep down I knew that theatre wasn't enough for me. I realised I was better working with business people than actors. There are better theatre directors than me. But there aren't many better arts consultants than me. Working in theatre, I would always be second-best. Now I don't think in terms of best or not best at all. My father would be pleased with me and what I'm doing. Partly as a homage and partly as following in his footsteps. He did what he wanted and needed to do and so do I. My father didn't have much truck with psychology or positive thinking but he didn't need it. He was lucky he could do his stuff and be marvellous without that kind of help. Now I feel that everything that my father has stood for is helping me to do the work I'm involved in, and that I feel I was born to do. So many people think that two-thirds of their entire life is a necessary evil in order to get four weeks' holiday a year. It's tragic. But now that I feel inspired by my work, it means that I, too, have to face the problems my father faced. Balancing work and family life is one of the hardest things. Some of my working life still isn't very family-friendly. Troy and Ali, my two children, are 11 and 9. Now I phone their schools and get their timetables before I start booking my work so that I can be with them during their half-terms and holidays. We swim, play tennis and football, and Ali and I dance about on the floor. Last Monday we had an Easter-egg hunt with about 15 kids down at Dad's old house. Mum was there - she's a wonderful grandmother - and we had a football match with the dads against the boys. I'm still slightly suffering from it. There was a time when I thought, if only I could get out of my father's shadow. Now I wouldn't want to. I feel closer to my father than at any other time in my life. I almost feel that he is here with me. Richard Olivier was talking to Ann McFerran -------------------------------------- |
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| vivien_leigh | Oct 10 2008, 11:40 PM Post #14 |
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Richard Olivier - Artistic Director Richard has been a leading theatre director for over ten years, and directed Henry V for the opening of Shakespeare's Globe Theatre in London in 1997. He has worked extensively in the fields of Organisational and Personal Development. Richard is the founding voice within Mythodrama. His work today is at the leading edge of bringing the world of theatre and the arts into the development of authentic leaders. He is an Associate Fellow, Templeton College, Oxford, and Master of Mythodrama at Shakespeare's Globe Theatre. Richard also works internationally as an independent consultant, conference speaker and workshop leader. He was a guest speaker at the 2003 World Economic Forum in Davos. He is the author of 'Inspirational Leadership - Henry V and the Muse of Fire', published by Spiro Press in May 2001. His latest book on 'Peak Performance Presentations' - co-authored with Nicholas Janni - was published in June 2004. http://www.speakersassociates.com/GetPicture.pl?Id=24148 ![]() ![]() ![]() ![]() ![]() The Olivier connection Richard Olivier, Laurence Olivier’s son, opened the new room at a special champagne lunch event and this is the beginning of a new partnership between the Theatre Royal and Olivier Mythodrama, Richard’s company. The company provides world-class leadership programmes exploring purpose and meaning, authenticity and connection in leadership. The company helps to develop leaders who have vision, passion and presence. It aims to liberate hidden potential, helping clients to find meaning and purpose in work. The leaders it develops can then be creative and pragmatic, caring a courageous, delivering both short-term benefits and holding the line for a successful sustainable future. Olivier Mythodrama clients include Daimler Chrysler, the Cabinet Office and the BBC. |
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| vivien_leigh | Oct 10 2008, 11:44 PM Post #15 |
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Trang web của Richard Olivier http://www.olivier-films.be/en/ -------------------------------- ![]() Producer of documentary films presented as a game of snakes and ladders across Belgium. Richard Olivier tirelessly films the peculiarities, the revolts, the shouts of anger, the tenderness that this secret country inspires. His work depicts a country which dissimulates its identity by cultivating the kind of folklore where self-derision and outrageous kitsch coexist.. Richard Olivier has written several plays which were shown on the stage and adapted for TV: « KING SINGER » « BIG DADY DADA » « THE IRRESISTIBLE RISE OF JOHN TRAVOL’RAT » « LOVE-STORY IN A SHOP WINDOW»… He co-signed, with the cartoonist Jean-Louis Lejeune, a political comic-strip “Amin Dada 1st Emperor of Belgium”, several episodes of which were published in the Belgian weekly “Pourquoi pas,” and censured after a couple of weeks. He also published, in co-operation with 63 authors, an illustrated book entitled “A la recherche du cinema perdu” (In search of lost movie theatres), edited on the occasion of the centenary of movie pictures. He has written tens of articles in French and published numerous photos in Belgian and foreign newspapers and has participated in collective works, such as : « BELGIQUE , TOUJOURS GRANDE ET BELLE », Edition Complexe ; « A CHACUN SON CINEMA » », Editions Luc Pire ; « NOUS N’IRONS PLUS AU CINEMA », Revue de l’Institut de Sociologie de l’Université Libre de Bruxelles ; « L’ ENTRE HAINE ET TROUILLE », Edition ip as well as several small volumes : « JE SUIS CINEASTE » et « LE PAYS QUI A MAL AUX DENTS » aux éditions de l’heure, Charleroi. He has won several awards for literary novels published in weekly and monthly reviews, some of which were read on the radio. He is also the author of numerous scenarios written for TV and young people. As a filmmaker he has contributed many episodes to the famous programme “Strip-tease” and has had the honour of making the last one, entitled, “Le Der des Der”. As a fiercely independent filmmaker, he also made several short and medium-length films for TV and cinema : « I’M FED UP WITH BANANAS » « SHEEP, AS FAR AS YOU CAN SEE» « VIOLENT MASS « « MOTOR CYCLIST OF THE APOCALYPSE» « PLATO» « THE END » « THE FANTASTIC GOAL-SCORER» « SPLENDOUR AND DECADENCE OF A DEPARTMENT STORE» « MARVIN GAYE TRANSIT OSTEND ». Interventionist, musketeer and swashbuckler, free electron, answerable to no-one, Richard Olivier is above all a maker of documentary films, such as : « THE CHARM OF AMBIGUITY » « THE APPRENTICE IDOLS» « STRIP SCHOOL » « BLACK PARIS » «REBEL SONGS» «THE SATIRICAL SONG» « LOVE SONGS » « WOMEN CHANTS» « KITSCH BELGIUM » « BLACK, YELLOW AND RED » « THE KING’ FOOLS » « MARCHIENNE, OR HOW TO LIVE A DOG’S LIFE » « DUTROUX’DEATH HOLES» « « A SUMMER IN DROIXHE » « THE CONDEMNED JUDGE » « LOVE PAINS » « SKIN’S SORROW » « WHAT WOMEN TOLD ME » « DIALOGUES WITH THE HEREAFTER» « REMEMBER MARVIN GAYE » « ORDINARY MURDERS OF LITTLE IMPORTANCE » Most of these documents have been selected to participate in film festivals abroad and have been broadcast on TV in France and in some cases, globally. Richard Olivier’s motto : « To shoot films in order to avoid being shot”. « I’m not particularly fond of the motion picture world. Its dough, its hullabaloo, its commercialised stars, its lavish cocktail parties, its tuxedoed clones, its triumphant marketing, its stressed press, its Oscarised awards, its outdated fictions sometimes bewilder and amuse me, but rather depress me. I’m only really interested in motion pictures which try and film the truth, often designated in short as “real life documentaries” for lack of a more appropriate term. » Richard Olivier |
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2:02 AM Jul 12
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2:02 AM Jul 12