In the "Shadow Gentleman" section of the 741 issue of "Midnight Scene of Watching Movie Magazine", we will introduce you to the career and excellent works of the famous actor Mark Relais. Mark Reirance has been instrumental in stage, television and film, as he was the first artistic director of Shakespeare's Globe Theatre and an outstanding Shakespearean actor, winning two Olivier Awards and three Tony Awards. In 2016, he won the 88th Academy Award for Best Supporting Actor for [Bridge of Spies], and in 2017 he shined in [Dunkirk], and today Rilans has become a rare performance master of our time.
The collaboration with Spielberg greatly increased Reilance's popularity, but his main position remained in the theater. Surprisingly, even a powerful actor like Rylance, who has achieved great success, is not good at theatrical performance, and the stage gives him terrible moments from time to time. On a few occasions, When Reelongs could not even get out of the dressing room, he locked himself in it and screamed nervously. Rylance's role as "Byron" in Jerusalem has brought him a lot of glory, but what is less known is that when the show was on its second tour in London, Relais was unable to look at the faces of the actors on stage for a while, and a voice appeared in his head, constantly telling him that he should apologize to the audience for his poor acting skills, and after the performance, he refused to return. "It's a mental illness." Rylance recalled.
However, the performance was quite successful, and only Relais was worried: "I always felt that the audience was lying to me." Why are they laughing? I'm going to stop them from laughing because people tell them the drama is good, they don't really want to laugh. That's what I had in mind. ”
On that tour, actor McKinsey Crook shared a dressing room with Reelans in more than 400 performances, and he remembers that period vividly: "Rylance had a crisis of confidence at that time, he became autistic and taciturn, and that didn't happen to other actors. On stage, he became very agitated, almost on the verge of getting out of control. ”
At times, this gloomy mood almost overwhelmed Rylance. "At the height of the crisis," Crook said, "Rylance was often furious, smashing things and smashing the windows of the touring trailer. He was out of control, but he received excellent results on stage. Even when the mood is clear, Rylance's remarkable talent can cause "trouble". When he starts acting, it's like a magnet, and all the other actors are going to run around his tracks, which obviously makes others feel uncomfortable.
Rylance himself once revealed a story, during the "Measure of Guilt" tour, Rylance played the "Duke of Vincent" deliberately read the lines to have a comedic effect in order to make the view light, and as a result, at the banquet after the show, the actor who played the opposite role of Rylance, Liam Brennan, kept drinking until the early morning, when Rylance found him, he complained: "Mark, why did you do that?" You were my hero, why did you do that? ”
During his time at the Globe Theatre, Rylance worked as an art director, a position that combined the roles of father and colleague. When an actor is sick or on leave, Relais will stand on stage with a book in place of the actor and rehearse with everyone. At one point, he played Cleopatra in the afternoon and twins in Comedy Of Errorsin in the evening. Although this experience is hectic, it is also full of moments of improvisation and even highlighting. Rylance's daughter, Juliette, said that Rylance's performance in rehearsals for others was sometimes better than his real theatrical performance.
The experience at the Globe Theatre taught Relais how to place his acting energy with ease. His performances are not only outstanding, but also increasingly free, often interacting with the audience in addition to interpreting the roles. In 2008, when he starred in "Boeing Boeing" on Broadway, the ice hockey coach at Reelongs Middle School came to watch, and the veteran actor skated on the stage while dancing on the stage, like a student blinking mischievously at the teacher.
More importantly, the experience made Relais realize that he was not fit to be a manager. He doesn't like to divide his role into two separate parts, actor and boss, and he likes to wear a hat emblazoned with the words "art direction" to distinguish him from his colleagues.
At times, these two identities can make Reilance feel torn, and at five o'clock in the afternoon, he has just finished his daily performance of Hamlet, and only a quarter of an hour later, he is going to attend the executive meeting. "I'm still sweating and don't even have time to take a shower. I had to sit in a small room and talk to people about food service or something like that, and I couldn't tell them I was getting paranoid and emotional, and I was going to die. ”
Rylance's fiery personality is increasingly invisible to Universal, and the board of directors has known from the moment he hired Relais that he is a skeptic of the true identity of the author of Shakespeare's work. Ryrence himself now says he is open to the issue, and he tends to think that the works belong to the collective intelligence of an era, rather than to one person. Rylance even asked Universal's stores to sell books to offer a different perspective on Shakespeare's authorship, which was nerve-wracking for the company.
Rylance was also strongly opposed to British involvement in the Iraq war, and he even went to see representatives of the main war faction on the board. He remembers a party where a banker mocked him as a "pacifist, "Aren't you?" I think the ideal would be no war, and we wouldn't kill each other. If someone had attacked my wife and children and I happened to have a weapon, I might have killed him, and I hope I won't, but I have to admit that we are all violent by nature. But I think the ideal would be for us to sit at the table as much as possible and discuss. ”
When Rylance left Universal in 2005, he felt "very depressed and tired." Yet he left a lot of legacy for Universal. Shakespeare's Theatre became an important place for people to re-experience the culture of Elizabethan theatre, and people paid five pounds to watch Shakespeare's plays performed by world-class actors, who used not only the stage of that era, but also the clothes and props of that era, and even the background music was exactly the same. To Rylance, the architecture here was like his second home, and he could not hope that he would have another seven years in his life, allowing him to work like this.
In the summer of 2012, the most difficult time of her life for Rylance, her daughter Natasha died. However, Relance's acting work did not stop, his repertoire set off a boom in the Globe Theatre, and tickets in London's West End and Broadway were sold until 2014, the last night of the "Twelfth Night" tour, When Relais said that Natasha's voice suddenly appeared in his mind while still performing on stage, and he also began to unconsciously do some of Natasha's habitual movements.
In that moment, Rylance felt his daughter inside him, enjoying the performance with him and giving him ideas from time to time. "Two years of touring has taught me where my little daughter is, and I certainly miss her, but I also feel like she's always been very close to me."