Katarin Kornell - Katharine Cornell

Katarin Kornell
Broadway prodyuserligida Meri Fitton rolida Katarin Kornell Klemens Deyn "s Uil Shekspir (1923)
Tug'ilgan	(1893-02-16)1893 yil 16-fevral Berlin, Germaniya imperiyasi
O'ldi	1974 yil 9-iyun(1974-06-09) (81 yosh) Tisbury, Massachusets, BIZ.
Kasb	Aktrisa yozuvchi ishlab chiqaruvchi
Faol yillar	1940-1957
Turmush o'rtoqlar	Guthrie McClintic (1921–1961 yillarda uylangan) (vafoti)
Hamkor (lar)	Nensi Xemilton

Katarin Kornell (1893 yil 16 fevral - 1974 yil 9 iyun) amerikalik sahna aktrisasi, yozuvchi, teatr sohibi va ishlab chiqaruvchi. U tug'ilgan Berlin amerikalik ota-onalarga va tarbiyalangan Buffalo, Nyu-York.

Tanqidchi tomonidan "Teatrning birinchi xonimi" deb nomlangan Aleksandr Vulkott,^[1] Kornell birinchi bo'lib ijrochi bo'ldi Drama ligasi mukofoti, uchun Romeo va Juliet 1935 yilda.^[2] Kornell asosiy mutaxassisligi bilan ajralib turadi Broadway ko'pincha eri tomonidan boshqariladigan jiddiy dramalarda rollar, Guthrie McClintic. Juftlik C. & M.C. Spektakllarni tanlash va tayyorlashda ularga to'liq badiiy erkinlik bergan kompaniya - Productions, Inc. Ularning ishlab chiqarish kompaniyasi birinchi yoki taniqli bo'lgan Broadway 20-asrning ba'zi taniqli aktyorlari, shu jumladan ko'plab inglizlar uchun rollar Shekspir aktyorlar.

Kornell Amerika teatrining buyuk aktrisalaridan biri sifatida qaraladi.^[1] Uning eng taniqli roli ingliz shoiri edi Elizabeth Barrett Browning 1931 yilda Broadway ishlab chiqarish Wimpole ko'chasidagi barretts. Broadway-dagi boshqa chiqishlar V. Somerset Maom "s Xat (1927), Sidney Xovard "s Chet ellik makkajo'xori (1933), Juliet yilda Romeo va Juliet (1934), Maksvell Anderson "s Qanotsiz g'alaba (1936), S. N. Behrman "s Komediya uchun vaqt yo'q (1939), a Toni mukofoti - Kleopatrani yutib olish Antoniy va Kleopatra (1947) va Maughamning tiklanishi Doimiy xotin (1951).^[3]

Kornell, o'sha paytdagi boshqa aktrisalardan farqli o'laroq, ekran rollari bilan ajralib turardi. U faqat bitta Gollivud filmida, Ikkinchi Jahon urushi axloqiy holatini ko'tarishda qatnashdi Sahna eshiklari oshxonasi, unda u o'zini o'ynadi. U televizion moslashuvlarda paydo bo'ldi Wimpole ko'chasidagi barretts va Robert E. Shervud "s Kechasi bo'lmaydi. Shuningdek, u hujjatli filmni aytib berdi Xelen Keller o'z hikoyasida, g'olib bo'lgan Oskar.

Birinchi navbatda a trajeden, Kornell uning nafis, romantik borligi uchun qoyil qoldi. Bir sharhlovchining ta'kidlashicha, "Hers kuchli romantizm emas. Ammo u qorong'u, ammo nozik tuslarga intiladi va u eng munosib tarzda etkazadigan hissiyot har doim o'ziga xos teatr ta'siriga duchor bo'lgan intiluvchan qizlikdir".^[4] Uning komediyadagi chiqishlari kamdan-kam uchragan va ularning aql-idrokiga qaraganda iliqligi uchun kengroq maqtagan. U o'ynaganida Doimiy xotin, tanqidchi Bruks Atkinson u "qattiq va metall" komediyani romantik dramaga o'zgartirdi degan xulosaga keldi.^[5]

Kornell 1974 yil 9 iyunda vafot etdi Tisbury, Massachusets (yoqilgan Martaning uzumzori ), 81 yoshda va Massachusets shtatidagi Marta uzumzoridagi Tisberi shahridagi Tisbury Village qabristoniga dafn etilgan.^[6]

Oila va bolalik

Katarin Kornell ikki yoshida

Kornell taniqli, boy Buffalo (Nyu-York) jamiyat oilasida tug'ilgan. Uning buyuk bobosi, kashshof ajdodlarning avlodi bo'lgan Samuel Garretson Kornell Tomas Kornell, 1850-yillarda Buffaloga kelgan va Cornell Lead Works kompaniyasiga asos solgan. Uning nabiralaridan biri Piter Elis Gardner Plimptonga uylandi. Yosh er-xotin yashagan Berlin Butrus tibbiyot sohasida o'qiyotganida Berlin universiteti. Ularning birinchi farzandi Katarin o'sha erda tug'ilgan. Olti oydan so'ng, oila Buffaloga qaytib keldi, u erda Mariner ko'chasida 174-uyda yashagan.^[7] Bolaligida Katarinen, qisman onasi tufayli, ota-onasi bilan yomon munosabatda bo'lgan alkogolizm. U xayoliy do'stlari bilan o'z hovlisida o'ynadi. Ko'p o'tmay, u maktab tanlovlarida va spektakllarda qatnashdi va Delavare prospektidagi 484-uyda turgan bobosining uyingizda teatrida oilaviy mahsulotlarni tomosha qildi.^[8] Kornell Franklin ko'chasi, 508-uyda joylashgan Buffalo Studio Club zal teatrida o'ynadi.^[9] U yengil atletikani yaxshi ko'rar va tennis bo'yicha shahar chempionati sovrindori va havaskorlik bo'yicha suzish bo'yicha chempion bo'lgan.^[10] U Buffalo universitetida tahsil oldi (keyinchalik Buffalodagi Nyu-York davlat universiteti ).^{[iqtibos kerak ]}. 1913 yilda u Buffalodagi ayollarning yagona shaxsiy klubi bo'lgan Garret klubiga qo'shildi va klub teatrlarida qatnashdi.^[11]

Kornell taniqli bo'lganidan so'ng, u tez-tez o'z mahsulotlarini tug'ilgan vatani Bufaloga olib boradi. Garchi u hech qachon Buffaloga yashash uchun qaytmagan bo'lsa-da, uning shaharga va uning aholisiga bo'lgan ishtiyoqi yaxshi ma'lum bo'lgan. Biograf Tad Mosel yozgan: "O'zining tug'ilgan shahriga bo'lgan mehrini ko'rsatish uchun u har doim mehmonxonadan chiqqanda asta-sekin yurar, hech kimni sog'inmagani uchun boshini burib, ko'chada hammaga tabassum qilar edi. O'sha kuni kechqurun uyga qaytib keldim, - Katarin Kornell to'g'ridan-to'g'ri menga qarab jilmayib qo'ydi. "Butun karerasi davomida, Brodvey kechalarini ochar ekan, uni Buffalodan kelgan oila a'zolari va do'stlari sahna ortida kutib olishdi.^[12] Uning ko'plab asarlari Delaver shtatidagi Erlanger teatrida namoyish etilgan,^[13] ning qarshisida Statler mehmonxonasi. Erlanger 2007 yilda buzib tashlangan.^[14]

Erta martaba

Kornell 1919 yil London sahnasida "Jo March" rolida Kichkina ayollar

Kornell va Allan Pollock ning Broadway ishlab chiqarishida Taloq to'g'risidagi qonun hujjati (1921)

1915 yilda Kornellning onasi vafot etdi va unga mustaqil bo'lish uchun etarli mablag'ni qoldirdi. Yosh ayol aktyorlik faoliyatini boshlash uchun Nyu-Yorkka ko'chib o'tdi. U erda u qo'shildi Vashington maydonidagi o'yinchilar^[15][16] va mavsumning eng istiqbolli aktrisalaridan biri sifatida e'tirof etildi. Ikki mavsumdan keyin u qo'shildi Jessi Bonstelle kompaniyasi,^[17] etakchi Nyu-York repertuar ("aksiya") o'z yozlarini ikkiga ajratgan kompaniya Detroyt va Buffalo.^[18][19] Endi 25 yoshda bo'lgan Kornell doimiy ravishda porlab turadigan sharhlarni qabul qilib turardi.

Kornell turli xil teatr kompaniyalariga, shu jumladan Sharqiy sohil bo'ylab gastrol safarlarida bo'lgan "Bonstelle" ga qo'shildi. 1919 yilda u "Bonstelle" kompaniyasi bilan Londonga "Jo Mart" rolini o'ynash uchun borgan Marian de Forest bosqichga moslashish Louisa May Alkott roman Kichkina ayollar. Garchi tanqidchilar spektaklning o'zini kamsitgan bo'lsalar-da, ular Kornellni oqshomning eng yorqin joyi sifatida alohida ta'kidladilar. Qog'oz Ingliz ayollar Kornell haqida yozgan edi: "London bir ovozdan maqtovga sazovor va London uni ko'rish uchun yig'iladi". Nyu-Yorkka qaytib kelgach, u uchrashdi Guthrie McClintic, yosh teatr direktori. U uni qildi Broadway spektaklda debyut Yaxshi odamlar tomonidan Reychel Krooter, yonida kichik bir qismida Tallula Bankxed.

Kornellning birinchi yirik Brodveydagi roli Klemens Deyn rolidagi Sidney Feyrfildning roli edi Taloq to'g'risidagi qonun hujjati (1921). The New York Times uning ijrosi haqida shunday yozgan edi: "[u] o'yinning markaziy va muhim rolini o'ynaydi va unda esda qolarli tushuncha va go'zallikni namoyish etadi".^{[iqtibos kerak ]} Bu 173 spektaklda o'ynadi, xit deb hisoblash uchun etarli. Keyinchalik, Kornell ketma-ket unutilgan plyuslarda o'ynadi.

U 1921 yil 8 sentyabrda Makklintikka xolasining yozgi uyida uylandi Koburg, Ontario, Kanada. Kornellning oilasi u erda ko'pincha boshqa boy amerikaliklar orasida yozda bo'lgan.^[20] Oxir-oqibat er-xotin shahar uyini sotib olishdi 23 Beekman joyi Manxettenda.^[21][22] Odatda Kornellning lezbiyen bo'lganligi va Makklintikning gey bo'lganligi va ularning birlashmasi lavanta nikohi.^[23] U "a'zosi edi"tikuvchilik to'garaklari "Nyu-Yorkda va bilan aloqada bo'lgan Nensi Xemilton,^[24] Tallula Bankxed, Mercedes de Acosta va boshqalar.^[25]

Yulduz

Kornell tomonidan suratga olingan Karl Van Vechten (1933)

1924 yilda Kornell va Makklintik Vashington maydonidagi o'yinchilarning vorisi bo'lgan Aktyor teatri tarkibiga kirdilar. Bu hech qanday yulduzsiz demokratiya bo'lishga intilgan aktyorlar guruhi edi. Birinchi mahsulot sifatida ular tanladilar Candida tomonidan Jorj Bernard Shou. O'sha paytda o'yin guruh uchun mukammal deb topilgan edi, chunki biron bir obraz boshqalarga ustun kelmaydi deb hisoblanmagan, chunki Shou asar g'oyalar haqida bo'lishni maqsad qilgan. Garchi etakchi qahramon Candida bo'lsa-da, u uchinchi aktgacha o'z-o'zidan paydo bo'lmaydi. Ammo, Kornell aslida o'yinni qayta tasavvur qildi. U Candidani spektaklning asosiy qismiga aylantirdi, shu vaqtdan beri rejissyorlar va tanqidchilar tomonidan qabul qilingan. Sharhlar juda hayajonli edi va tomoshabinlar bunga javob berishdi. Aktyor teatri o'z rejalarini o'zgartirdi va Kornellning nomi truppaning kelajakdagi barcha spektakllarida spektakl nomidan yuqori bo'lishi kerak degan qarorga keldi. Boshqa aktyorlar guruhi Teatr gildiyasi, Shouning barcha pesalariga bo'lgan huquqlarni nazorat qildi va bundan keyin faqat Kornellga tirikligida Candida rolini o'ynashga ruxsat berdi, bu rolni u o'z karerasida yana bir necha bor takrorladi. Keyinchalik Shou unga "mening tasavvurimda ideal britaniyalik Candida" ni yaratganligi to'g'risida eslatma yozdi.^[26]

Kornellning navbatdagi roli Iris Martda o'ynash edi Yashil shapka (1925), romantikasi Maykl Arlen. Asarda mavzulari bor edi sifiliz va erkin axloq, va Iris Mart kuchli jinsiy jonzot edi. Lesli Xovard Napier rolini o'ynadi. O'yin hali ham edi Chikago, bu butun AQSh va Evropada tanilgan xalqaro xitga aylandi. Eshton Stivens, Chikagodagi katta drama tanqidchisi shunday yozgan Yashil shapka "melodramatikasi, rouji va rinstoneslari, g'ayrioddiy uchinchi harakati har bir ijroida o'lishi kerak. Men allaqachon uning nomukammalligini unutayapman va faqat uning jozibasini eslayman". Uning asosiy jozibasi, u "sotib olinmaydigan umurtqalarimdan yuqoriga va pastga mayda qo'ng'iroqlarni" yuborgan Kornell edi. Boshqa tanqidchilarning aksariyati spektaklni o'zi panjara qilishdi, ammo Kornelning g'alati suhbatlariga qaramay, maftun eta olish qobiliyati tufayli uni uni chidab bo'lmas deb topdilar. Tanqidchi Jorj Jan Natan spektaklni "Amerika teatrining boshqa barcha yosh ayollaridan ustun va yelkasida turadigan bitta ayol Miss Katarin Kornell eng yaxshi ijro etgan" deb yozgan.^{[iqtibos kerak ]}

Broadway ishlab chiqarishida Burton McEvilly bilan Kornell Xat (1927)

Spektaklga borishdan oldin Nyu-Yorkda 231 tomosha bo'lgan Boston va keyin kros-tur. Spektaklning muvaffaqiyati spektaklda Kornell kiygan turdagi yashil shlyapalarda modani yaratdi. Keyinchalik, Tallula Bankxed Iris Mart rolini unchalik muvaffaqiyatli bo'lmagan London ishlab chiqarishida o'ynagan va Greta Garbo 1928 yilda filmga moslashishda rol o'ynagan, Ayol.

U 1927 yilda rol o'ynagan Xat, tomonidan V. Somerset Maom, Lesli Krosbi singari, sevgilisini o'ldiradigan ayol. Maugham o'zi Kornellga ushbu qism uchun taklif qildi. Garchi tanqidchilar spektakldan juda hayajonlanmagan bo'lsalar-da, Kornell sodiq izdoshlarini rivojlantirgan. Ochilish kechasi shu qadar shov-shuvga sabab bo'ldi Nyu-York Quyoshi sahnadan keyin uni tomosha qilish uchun tiqilinch odamlar tiqilinch edi, deb yozgan.

Broadway ishlab chiqarishidagi Kornell Aybsizlik davri (1928)

1928 yilda Kornell grafinya bosh rolini o'ynadi Ellen Olenska ning dramatizatsiyalangan versiyasida Edit Varton roman Aybsizlik davri. Uning ijrosi faqat ijobiy baholandi. Ushbu muvaffaqiyatdan so'ng, Kornellga etakchi taklif qilindi Sharmandali xonim. Dastlab u mo'ljallangan edi Ethel Barrymore, rolni qabul qila olmagan. Spektakl - bu hayotdagi qotillik haqidagi jirkanch melodrama Glazgo, Shotlandiya. Uolter Vinchel "Teatr tarixida hech qachon bunday ajralib turadigan aktrisa bunday hayajonli sahnaga yo'l qo'ymagan. U [Kornel] aslida odamga uning yuziga kuchli mo'rijni urishiga ruxsat bergan!"^{[iqtibos kerak ]} Bir tanqidchi spektaklning "beshinchi stavkasi" haqida shikoyat qildi va Kornellni iste'dodini behuda sarflaganligi uchun kam taniqli teatrni tanlaganligi uchun jazoladi.

Moda Kornell ushbu turdagi spektakllarni "u ochiqchasiga gapirishni, shafqatsiz turdagi axlatni afzal ko'rgani uchun" bajarishini yozgan. Biograf va dramaturg Tad Mosel hisoblagichlar, garchi bu tanbeh berish uchun mo'ljallangan bo'lsa-da, ammo o'zboshimchalikdan mahrum bo'lganda,

"bu haqiqatning sodda bayoni. Uning bir qismi ham bor edi, albatta, zo'ravonlik axlatini afzal ko'rdi. Uning rassom sifatidagi yaxlitligi bu kabi imtiyozni talab qilishi kerak bo'lgan yagona mudofaa edi. Har bir spektakl o'zini o'zi ochib berishi kerak edi. chunki bu rolning talqini edi, shuning uchun uning rollarni tanlashi va ularni ijro etish uslubi uning tabiati haqida katta tushunchalar beradi, ehtimol uning sahnadan tashqaridagi muloyim, jilmayib turadigan, har doim ma'qul keladigan va tobora ko'proq himoya qilinadigan xatti-harakatlaridan kelib chiqadigan narsalardan kattaroqdir. uning ijrosiga yozuvchi yoki rassomning chiqishiga qanday qarasa, shunday qarashlari kerak. "^[20]

Wimpole ko'chasidagi barretts

Broadway-ning asl nusxasida Elizabeth Barrett sifatida Kornell Wimpole ko'chasidagi barretts (1931)

Katarin Kornell, ehtimol shoir rolida yaxshi tanilgan Elizabeth Barrett Browning yilda Rudolf Besier o'yin Wimpole ko'chasidagi barretts. Spektakl shoir oilasi hayotiga asoslangan; barretlar yashagan Wimpole ko'chasi Londonda. O'yin katta va mehribon oilaning eng keksa farzandi Yelizaveta bilan ochiladi. Ularning beva qolgan otasi achchiqlanib, farzandlarining hech biri "ehtirosning shafqatsiz zulmi" va "tananing eng past istagi" ning quli bo'lib qolmasliklari uchun uylanmasligi kerakligiga qat'iy qaror qildi. O'yin davom etar ekan, uning oilasi va xususan, nogiron bo'lgan Yelizaveta uchun g'amgin tashvishi yomon xarakterga ega bo'ladi. Shoir Robert Brauning Elizabethning ba'zi she'rlarini o'qigan va u bilan uchrashish uchun kelgan va ular darhol bir-biriga jalb qilingan. U ketgach, Yelizaveta uning yo'lakda g'oyib bo'lishini kuzatish uchun oyoqlari bilan kurashadi. Keyinchalik Elizabeth va Robert otasining qat'iy buyruqlariga qarshi qochib ketishdi va u uning ruxsatisiz yoki bilimisiz turmush qurganini topgach, sevimli iti Flushni o'ldirishni buyurdi. Ammo singlisi buni ta'minladi koker spaniel qochishga er-xotin qo'shiling.^[27]

Asarda bir qancha qiyinchiliklar mavjud. Yelizaveta bosh rolni dastlab otasiga bo'ysunishi kerak, ammo butun diqqat markazida bo'lishi kerak. Garchi tugatish Elizabeth va Robert uchun baxtli bo'lsa-da, qolgan oilalar uning obsesyonidan mahrum bo'lgan otaning hukmronligi ostida qolmoqda. Birinchi yarim yil davomida Elizabethni og'ir Viktoriya kostyumini kiygan holda, divanda yotgan holda va nogironga yarashgan holda adyol bilan yopib o'ynash kerak. Ko'pchilik, shu jumladan Lionel Barrimor, otaning rolini o'ynashni so'ragan, bu juda melodramatik va o'z vaqtidan o'tgan deb o'ylardi. Ushbu asarni Nyu-Yorkning 27 prodyuseri Makklintik o'qimagan va uni juda ta'sirli deb topguncha rad etgan, u o'qiganida yig'lab yuborgan.

Makklintich Londonda bo'lganida, u xavfsizlikni ta'minlagan Brayan Aherne Robert Browning rolini o'ynash. Shundan so'ng, Makklintik zudlik bilan London zargarlik do'koniga borib, kamida 100 yoshda bo'lgan marjon, ikkita bilaguzuk va granat uzukni sotib oldi. Kornell Elizabeth Barrett sifatida namoyish etgan har bir spektakli uchun u ushbu taqinchoqlarni oxirgi marta, oxirgi marta oilaviy uydan chiqib ketayotganda kiygan. Katarin Xepbern Henrietta tomonidan tanlangan, ammo u bir necha oydan so'ng yozgi aktsiyadorlik jamiyatida o'ynashni rejalashtirganligi sababli, u bilan shartnoma imzolanmadi. Itni tashlash juda mashaqqatli edi, chunki u uzoq vaqt o'z savatida sahnada yotib, keyin chaqirilganda chiqib ketishi kerak edi. Makklintik sakkiz oylik koker spanielini tanladi, u butun ko'lamda rol o'ynadi va undan keyin boshqa ko'plab odamlar katta olqishlar ostida.

Makklintik uch soatlik o'yinni davr tafsilotlariga puxta e'tibor bilan boshqargan. Cornell C. & M.C. tomonidan ishlab chiqarilgan bo'lsa-da, prodyuser sifatida ro'yxatga olingan. To'liq ikkala McClintic va Cornell-ga tegishli bo'lgan Productions, Inc. O'yin birinchi bo'lib ochildi Klivlend, keyin 1931 yil yanvar oyida Nyu-Yorkka etib borguncha Buffaloda o'ynadi.

Bruks Atkinson ochilish kechasi haqida yozgan:

"Uzoq davom etgan serharakat o'yinlardan so'ng u bizni Katarin Kornelni birinchi darajali aktrisa sifatida tanishtiradi. Bu erda u tin oladigan pyesalarda behuda sarf qilgan intizomli g'azab nozik zarb qilingan personajning yorqin go'zalligiga aylanadi. uning ishtiyoqi va ishora harakatlari ortida turgan vahshiy sezgirligidan va o'ynab turgan kressenodan u dramani o'zi qayd etgan faktlardan tashqari ma'noga ega qiladi va uning dizayni juda ehtiyotkorlik bilan ajralib turadi. uning huzuridagi olov .... Uimpol ko'chasidagi barretlar - bu Miss Kornell va u o'zini qurshab olgan ajoyib kompaniya uchun g'alaba. "

^{[iqtibos kerak ]}

Boshqa barcha tanqidchilar uning aktyorligini maqtashda bir xil edilar: ajoyib, ravon, yuksak, qorong'u, ritmik, yorqin, xayolparast, lirik, g'azablantiruvchi kabi sifatlardan foydalanganlar. Doroti Parker o'zining kostik mohiyati va g'ayritabiiy sharhlari bilan tanilgan, garchi u buni yaxshi o'yin deb o'ylamagan bo'lsa-da, "uni ko'z yoshlari uchun o'lpon to'lagan". Bundan tashqari, "Miss Katarin Kornell - bu juda yoqimli Elizabeth Barrett ... Miss Kornelga shunchalik sig'inishi ajablanarli emas; uning romantikasi bor, yoki agar siz kundalik gazeta tanqidchilarining so'zlarini yaxshi ko'rsangiz, u maftunkor. "^{[iqtibos kerak ]} Spektakl 370 tomoshani namoyish etdi. Yopilishi haqida e'lon qilinganda, qolgan spektakllar sotilib, yuzlab odamlar yuz o'girib ketishdi.

O'yinning muvaffaqiyati Robert Braunning she'riyatida jonlanishni keltirib chiqardi va o'sha yili koker spaniellari mashhur itga aylandi. Irving Talberg Kornell an rolini o'ynashini xohladi MGM moslashish, agar u natijadan to'liq qoniqmasa, film yo'q qilinishini taklif qiladi.^[28] U rad etdi. Chiqarilgan filmda asl aktyorlarning aksariyati va Talbergning rafiqasi, aktrisa bor edi Norma Sheirer, Elizabeth rolini o'ynadi.^[29]

Kornell filmlarda suratga tushishdan bosh tortdi, chunki u tomoshabinlar eski filmlarning aktyorligiga kulishlarini ko'rgan va u bilan bunday bo'lishini istamagan. Biograf Tad Moselning so'zlariga ko'ra,

"u o'zini tarixchilar yoki kelajak nostalji muxlislari uchun emas, balki shu kecha teatrga kelgan odamlar, o'z joylarida o'tirib, parda ko'tarilishini kutib turgan tomoshabinlar uchun harakat qilayotganini his qilar edi. u ularga etib borishni xohlagan, ammo u javob berganida u o'sha erda bo'lishni xohlagan, ekrandagi ikkinchi qo'l tasvirga qarab, u dunyoning boshqa qismida bo'lishni xohlamagan, aslida u bunday emas edi. ularning huzurida bo'lishni istamay turib ularga javob beradigan har qanday narsani berishi mumkinligiga aminman. " Bundan tashqari, uning yuz tuzilishining kattaligi - suyak tuzilishi shunchalik ravshan ediki, ularni oxirgi qatorga qadar ko'rish mumkin edi, ammo "ekrandagi kamera kattalashib, bo'rttirib ko'rsatiladigan narsadan kam bo'lishi mumkin edi. Uning ovozi va imo-ishoralari Bu ekran uchun juda ko'p narsa bo'lishi mumkin bo'lgan notiq teatr rekvizitlari shu qadar sodda tuzatishlarni talab qiladiki, u ularni bajara olmasdi va jismoniy jihozlardan tashqari ... ehtimol uning o'ziga xos fazilati, o'ziga xos o'ziga xos jihati undan ustun bo'lgan texnika va qo'l san'atlari va beshinchi darajali yozuvlar kameralardan ustun bo'lmasligi mumkin edi; agar u jismoniy ishtirokisiz tomoshabinlarga etib bormagan bo'lsa. "

^{[iqtibos kerak ]}

Ammo boshqa manbalarning ta'kidlashicha, Gollivud Broadway o'z aktyorlari uchun shartnoma asosida o'ynaydi va Kornell hech qachon sahnada paydo bo'lgan rollari uchun hisobga olinmagan. Bundan tashqari, Kornell, ehtimol, rejissyorga yozgan Jorj Kukor, agar u uni boshqaradigan bo'lsa, u filmni ko'rib chiqishini taklif qildi. Ushbu harakatdan hech narsa chiqmadi.^[30]

U ko'plab film rollarini rad etdi Oskar mukofotlari Olan filmidan rol o'ynagan aktrisalar uchun g'oliblik va nominatsiyalar Yaxshi Yer, Pilarga Qo'ng'iroq kim uchun. Bundan tashqari, uning hit o'yinlaridagi ko'plab rollari boshqa buyuk aktrisalar tomonidan muvaffaqiyatli ijro etilgan yoki film sifatida moslashtirilgan. Tomoshabinlar filmlarni tomosha qilish uchun jonli teatrni tark etishganda, Kornell teatrda jonli bo'lishiga yordam berish uchun qolishga qat'iy qaror qildi.

1933 yilgi tur

Muqovada Cornell Vaqt (1932 yil 26-dekabr)

Keyin Barretts yopiq, Kornell ikkita spektaklda bosh rollarni o'ynadi, Lucrece va Chet ellik makkajo'xori.^[31] Uning rolining katta qismi Lucrece o'ynagan pantomima. Uning muvaffaqiyati Lucrece uni muqovaga tushirdi Vaqt 1932 yil 26-dekabrda.^[32] Maqolada uning so'zlari keltirilgan: "Harakat qilish uchun siz o'z-o'zidan paydo bo'lib, doimo va chuqur his qilishingiz kerak. Shunday qilib, agar siz his-tuyg'ularingiz o'rniga boshingizni ishlatishga odatlangan bo'lsangiz, siz qo'ng'iroq qila olmaysiz. Sizning xohishingizdagi his-tuyg'ularingiz. Men yosh ayollarga aytaman, agar ular baxtli bo'ladigan boshqa narsa bo'lmasa, sahnaga chiqmang. "^[33]

Uning keyingi mahsuloti edi Romeo va Juliet, Makklintik rejissyori bilan. Basil Rathbone Romeo edi va Kornell Juliet rolini ijro etdi. U birinchi marta har qanday qo'shiqda qatnashgan edi Shekspir Rathbone Angliyada Shekspir yodgorlik teatri va Qirollik sudida bosh rollarni o'ynaganidan ancha tajribali bo'lganiga qaramay.^[34] O'sha paytda Shekspir AQShda moda bo'lmagan va uning asarlari jonli teatrda kamdan-kam namoyish etilgan. Oxirgi bo'lgan Hamlet bilan John Barrymore o'n ikki yil oldin. Buffalo shahrida spektakl ochildi va qiyin davrni boshdan kechirdi. Uning do'sti, zamonaviy raqs kashshofi Marta Grem, raqs ketma-ketliklarini xoreografiya qildi. Buffaloda Grem Julietaning kostyumi hammasi noto'g'ri deb o'ylardi. U oq oq rohibaning pardasini sotib oldi va undan oqqan xalat tikdi.

Spektakl uchta o'yinni aylantirgan etti oylik butun mamlakat bo'ylab gastrolga qo'shildi: Romeo va Juliet, Wimpole ko'chasidagi barrettsva Candida. Balandligi davomida rejalashtirilgan Katta depressiya, ko'plab teatr mutaxassislari va aktyorlari bunday shijoatli gastrolga qarshi maslahat berishdi. Bu birinchi bo'lib, har kim butun mamlakat bo'ylab gastrol safarida qonuniy Broadway shousini o'tkazishga urinish edi, uchtasi u yoqda tursin. Kabi shaharlarga sayohat qildilar Miluoki, Sietl, Portlend, Oregon, San-Fransisko, Los Anjeles, Oklend, Sakramento, Solt Leyk-Siti, Shayen, San-Antonio, Yangi Orlean, Xyuston, Savana va sharqiy qirg'oqqa qadar Yangi Angliya.^{[iqtibos kerak ]}

Filmlar jonli teatrdan katta darajada olinganligi sababli, AQShning gastrol safari uchun yopiq joylari bo'lgan. O'shandan beri kichik shaharlardagi ko'plab bekatlarda jonli teatr ko'rilmagan Birinchi jahon urushi yoki hech qachon. Ammo kassa yozuvlari aksariyat shahar va qishloqlarda o'rnatildi. Yilda Yangi Orlean, chiptalar sotilib ketganini bilgan ayollar tartibsizliklar uyushtirishdi. Turli xillik ekskursiya 225 tomoshani namoyish etgani va 500 ming kishiga o'ynaganligi haqida xabar berdi. Shaharlari unchalik katta bo'lmagan odamlar tomoshani tomosha qilish uchun ikki kunlik masofadan sayohat qildilar va natijada taqdimotchi shaharlar restoran va mehmonxonalardan tushadigan daromadni kichik, ammo kutib olishdi. Gastrolda paydo bo'lgan eng mashhur voqea truppa o'ynashi kerak bo'lgan paytga to'g'ri keldi Barretts Rojdestvo kechasida Makklintikning tug'ilgan shahri Sietlda. Ular ertalab kelishni rejalashtirishgan va odatda sahnani o'rnatish, yoritish va blokirovka qilish va kostyumlarni tarqatish uchun olti soat vaqt ketishi sababli, ular vaqt ko'p bo'ladi deb o'ylashgan.^{[iqtibos kerak ]}

Biroq, 23 kundan beri yomg'ir yog'ib, yo'llar va temir yo'llar yuvilib ketayotgan edi. Poyezd juda sekin harakatlanib, tez-tez to'xtab turardi. Teatr rahbariyati telegraf orqali ushbu joy kechki spektakl uchun to'liq sotilib yuborilganligini va jamoatchilikka ushbu asar o'z yo'lida ekanligiga ishonch hosil qilish uchun muntazam ravishda yangilanib turishni istashini aytdi. Truppa telegrammalarni davom ettirdi, ammo oxir-oqibat bu chiziqlar taslim bo'ldi. O'sha oqshomga qadar truppa hali ham shahardan yiroqda edi va shu kuni kechqurun har qanday spektaklni o'tkazishdan umidini uzdi. Nihoyat poyezd Sietlga soat 23:30 da etib keldi. Vokzalda ularni jonli olomon kutib turar edi va Metropolitan teatri menejeri Kornelga kelib, tomoshabinlar hali ham kutayotganligini ma'lum qildi. Makklintik "qancha?" Deb so'radi. "Butun uy", "O'n ikki yuz kishi" deb javob berishdi. Kornell hayratga tushdi va so'radi: "Ular bu soat spektakl qilishni xohlaysizmi?" "Ular buni kutishmoqda", deb javob berdi menejer.^[35]

Aktyorlar va ekipajning barcha 55 a'zosi teatrga yo'l oldilar. Yomg'ir paytida to'plamlar va rekvizitlarni himoya qilish kerak edi. Truppa kelishi bilanoq tomoshabinlar o'z joylariga qaytishdi. Kornell tomoshabinlar "Barrettlar" to'plamlarining ochilishini va o'rnatilishini tomosha qilishlari mumkin degan qarorga kelib, pardani ko'tarishdi. Sahna qo'llari, ovozli tekshiruvlar va elektrchilar bir soat ichida odatdagidek oltitani bajarish uchun harakat qilishdi. Tungi soat 1 ga qadar ular o'yinni boshlashga tayyor edilar. Biograf Tad Mosel shunday deb yozadi: "Tomoshabinlar aktyorlarga ularni kutish uchun eng yuqori maqtovni berishdi va aktyorlar hayotlarining har bir kunida berishlarini istagan ijro aktyorlari bilan javob berishdi. Oxirgi parda tushganda Ertalab soat 4, ular oldingisidan ko'proq parda qo'ng'iroqlarini qabul qilishdi. "^[35]

Truppaning publitsisti va menejeri Rey Xenderson ushbu hikoyani ertasi kuni Amerikadagi har bir gazetada nashr etishga muvaffaq bo'ldi. Aleksandr Vulkott o'z dasturida radio an'analarini o'rnatdi, Shahar Krieri. Keyingi yillar davomida, har bir Rojdestvoda Woollcott Ketarin Kornelni "toshqindan chiqqanini" va hayotini namoyish etishini kutish uchun tungi soat 1gacha kutgan Sietl auditoriyasi haqida hikoya qildi.^[20]

Broadway muvaffaqiyatlari va uslubning pishib etishlari

Romeo va Juliet

Garchi ular ushbu spektakl bilan gastrolda bo'lishgan bo'lsa-da, Kornell va Makklintik ochilishga qaror qilishdi Romeo va Juliet Nyu-Yorkda butunlay yangi ishlab chiqarish bilan. Makklintik boshlandi, safardan aktyorlarning bir nechtasi qatnashdi. Orson Uells saqlangan, ammo o'ynagan Tybalt o'rniga Merkutio, Broadway-dagi debyutini qildi. Basil Rathbone Romeo rolini o'ynadi Brayan Aherne Mercutio qismini oldi va Edit Evans hamshira o'ynadi. Makklintichning fikri shundaki, spektaklni "engil, gomoseksual, issiq quyosh, keng" teatrni yakunlagan mahkumlik alomatlarisiz saqlash kerak edi. Shuningdek, u Kornellni ma'ambul, hissiyot va hissiyotlarni o'qish uchun, amambik pentametrining poetikasi o'rniga o'qitgan.

Bu o'sha paytgacha Viktoriya printsipiga va klassik o'yinni qanday bajarish kerakligi haqidagi tushunchalarga tayanib o'tgan o'tmishdagi asarlarda katta tanaffus bo'ldi. McClintic Prologue-ni qayta tikladi va yigirma uchta sahnaning barchasi zarur deb hisobladi, faqat musiqachilar va xizmatchilarning komediyasini kesib tashladi. Birinchi marotaba nafs istaklari, yoshlikdagi romantizm va tilning yerga egaligi bir xil ahamiyatga ega bo'ldi.

Ishlab chiqarish 1934 yil dekabrda ochildi va odatdagidek sharhlar porlashdi. Burns Mantle Kornellni "o'z zamonasining eng buyuk Julieti" deb atagan. Yondashuvning yangiligini e'tiborga olib, Richard Lokrij ning Nyu-York Quyoshi Kornell Julietni "ishtiyoqli bola, qo'llarini cho'zib muhabbat tomon shoshilib" o'ynaganini yozgan. Kornellning aytishicha, aktyorlikning eng katta siri bu barcha ortiqcha narsalar va bezaklarni yo'q qilish, talqinni eng soddaligiga etkazishdir. Keyinchalik asl aktyorlardan Margot Stivenson Kornell "aynan shu katta italiyalik qiz sevib qolgan!" Stark Young ichida dedi Yangi respublika: U sizni muhabbatga ishontiradi, Juliet sevadi va uning diapazoni va sevgi she'ri uning azobi uchun mukofotdir. Bu boshqa [boshqa] Julietalar haqida aytilgan so'nggi so'zlardan biri bo'lishi kerak. "

Jon Meyson Braun da yozgan Nyu-York Post: "Bizning hayotimizda ko'pincha hozirgi va kelajak bir necha soatlik g'alaba qozonganini his qilish yoqimli tuyg'usidan bahramand bo'lish sharafiga muyassar bo'lamiz ... Shunday bo'lsa-da, aynan shu sensatsiya - bu g'ayrioddiy tuyg'u hozirgi va kelajak uchrashuvlari; kelgusi yillarda biz mag'rurlik bilan orqaga qarab turadigan voqea-hodisalarning guvohi bo'ldim, bu kecha afsuslanib o'tirganimizda ko'pchiligimizning ongimizga iliqlik kiritishiga majbur qildi. Miss Kornellning Julettasi yoqimli va maftunkor, uni eng yumshoq va jozibali ko'radi, Miss Kornell o'zining barcha aktyorlik darajasida olib boradigan shiddat bilan yonadi, nafis va yengil harakat qiladi, o'zining tasviriy fazilatlari bilan cheksiz xayratga soladi; So'zlashayotgan lirik satrlar chiroyiga teng keladigan Kornell o'z ovozidagi yangi topilgan lirik go'zallik bilan .... Bu bizning hozirgi teatrimiz ko'rgan eng yoqimli va jozibali Julietga zid keladi. uni superlativning bir turiga tashlang e halolga loyiqdir. " Keyinchalik, o'sha tanqidchi bu rol uning karerasidagi burilish nuqtasi ekanligini aniqladi, chunki u nihoyat o'zining oldingi karerasining "mayda-chuyda skriptlarini" tark etishi va eng katta klassik rollarning qiyin talablariga javob bera olishini anglatadi.^[20]

Barretlar qayta tiklandi

Romeo va Juliet 1935 yil 23 fevralda yopildi va ikki kechadan so'ng ishlab chiqarish kompaniyasi qayta tiklandi Wimpole ko'chasidagi barretts, bilan Burgess Meredit uning birinchi taniqli Broadway rolida. Tanqidchilar ushbu yangi spektakl yanada boyib, yanada qoniqish hosil qilganini aniqladilar, ammo uch haftadan so'ng boshqa spektakllar bilan shartnoma tuzilganligi sababli yopildi.

Keyingi o'yin, shuningdek, Meredit ishtirok etgan O'rmon gullari, tomonidan urushga qarshi o'yin Jon van Druten atigi 40 ta spektakl davom etdi va Kornellning eng katta muvaffaqiyatsizliklari qatoriga kiradi.^[20]

Sent-Joan

Kornellning ko'rinishini tavsiflovchi dastur Sent-Joan Klivlendda 1936 yil 20-fevralda, Nyu-Yorkda ochilishidan bir necha hafta oldin.

Keyingi mavsumda Kornell va uning eri buni qilishga qaror qilishdi Sent-Joan Jorj Bernard Shou tomonidan. MakKlintik aktyorlari Moris Evans Dofin, Brayan Aherne, Uorvik, Tyrone Power Bertran de Poulengey va Artur Bayron inkvizitor sifatida. O'yin 1936 yil 9 martda ochilgan va Berns Mantl g'alaba ikki xizmatkorga tegishli ekanligini yozgan edi. Domrémy, Frantsiya va Buffalo xizmatkori, Nyu-York. "Jon Anderson Nyu-York jurnali "Biron bir xiralashish bo'lmasdan oldin, aytaylik, Shouning eng katta pyesasi va unda Miss Kornel juda zo'r. U chiroyli ko'rinishga ega va uning ijrosi transsendent qahramonning ruhiy yuksalishi bilan zavqlanadi".

Aynan shu spektaklda Kornellning haqiqiy mahorati yaqqol namoyon bo'ldi. Tomoshabinlar uning ijrosi bilan "o'zgargan" va "hayratga solgan" deb gapirishdi. Yozuvchi S.N. Berman "bu tomoshabinlar sezgan va unga murojaat qilgan inson sifatida o'zi uchun zarur bo'lgan narsa edi". Boshqasi uning "shifobaxsh nurlarini miltillovchi" radiumga o'xshashligini aytgan bo'lsa, boshqalari "magnit ta'sir" degan eski iborani ishlatgan.

1936 yil bahorida spektakl faqat prodyuserlik kompaniyasi bilan shartnoma tuzganligi sababli yopildi Maksvell Anderson "s Qanotsiz g'alaba. Sent-Joan besh yirik shaharlarda etti haftalik ekskursiya bilan yakunlandi.

Flush rolini o'ynagan spaniel Barretts, 1937 yil iyulda vafot etdi. U o'z rolini 709 marta ijro etgan va ekskursiyalarda 25000 milya masofani bosib o'tgan, hech qachon mast bo'lmagan yoki kechikmagan. Uning o'limida Associated Press butun dunyo bo'ylab hikoyani yubordi.

Qanotsiz g'alaba

Jo Mielziner Kornelning portreti Qanotsiz g'alaba, qopqog'ida Bosqich jurnal (1937 yil yanvar)

Yilda Maksvell Anderson "s Qanotsiz g'alaba, Makklintik "yulduzlar kirishi" deb nomlangan narsadan qochishga qaror qildi, bu erda tomoshabinlar tomoshaning puldagi yulduzi olqishlar bilan kutib olishadi. Buning o'rniga, u boshqa bir belgi bilan yulduzga kirishga muvaffaq bo'ldi va shundan keyingina Kornell sahnada ekanligi aniqlandi. Ta'sir hayratda qoldirdi. 1936 yilda ochilgan spektakl turli xil tanqidlarga uchradi va ko'plab yomon baholarga ega bo'ldi, ammo Kornell har qanday rolni ijro etgani va uni o'ziniki qilish uchun burab qo'ygani uchun hurmatga sazovor bo'ldi. Bruks Atkinson asarning o'zini muloyimlik bilan kamsitib, Kornelni "Bizning fojiaviy malikamiz, mulohazali aktrisa va buyuk aktyor" deb yozgan.^[36]

Bilan almashtiriladi G'alaba, Kornell qayta tiklandi Candida bilan Mildred Natvik Prossy sifatida. Ularning xulosasidan so'ng, u bir yil dam oldi va (Rut Vudberi Sedvik yordamida) o'z xotirasini yozdi. Men aktrisa bo'lishni xohlardim. 1939 yilda Random House tomonidan nashr etilgan.

Komediya uchun vaqt yo'q

Kornell va Lorens Olivye Komediya uchun vaqt yo'q, qopqog'ida Bosqich (1939 yil 15-aprel)

Kornell va Gutri Makklintiklar o'z uyidagi kutubxonada 23 Beekman joyi (1933)

Kornellning yordamchisi Gertruda Meysi ishlab chiqarilgan musiqiy revu Bittasi pul uchun keyinchalik mashhurlikka erishgan noma'lum aktyorlar, shu jumladan Jin Kelli, Alfred Dreyk, Kinan Vayn va Nensi Xemilton. Yopilgandan so'ng darhol Kornell o'zining ikkinchi komediyasida rol o'ynadi, Komediya uchun vaqt yo'q tomonidan S. N. Behrman. Makklintik yoshlarni tashladi Lorens Olivier Geylordning etakchi rolida.^[37] Mashqlar paytida Kornell komediya xronologiyasi bilan juda qiynaldi va kimdir boshini silkitib: "Bechora keksa Kit!" Olivier orqasidan o'q uzdi: "Kambag'al eski to'plam Amerika teatridagi eng muvaffaqiyatli ayol! Eng boy, eng chiroyli, eng ko'p izlanadigan, eng taniqli, eng sevilgan - Haqiqatan ham qashshoq keksa kit!"^[20]

Behrman o'z xotirasida: "Miss Kornellda men tanigan har qanday aktrisa yoki aktyorga qaraganda kamroq [ko'rgazmachilik] bor edi. Uning teatrdagi mavqei texnikadan ustun edi .... Bu o'z-o'zidan, tomoshabinlar uchun muhim bo'lgan narsa edi. his qildi va unga qo'l uzatdi .... Butun sahna va boshqa aktyorlar uning shaxsiyati yorqinligidan nur olishdi. "^[38]

Spektakl 1939 yil 17 aprelda ochilgan va Kornell uchun uchinchi eng katta pul ishlab chiqaruvchiga aylangan va million dollardan ko'proq pul ishlagan ikkinchi prodyuserga aylangan. Bir nechta aktyorlar tarkibi, shu jumladan Olivye bilan birgalikda, ushbu asar butun mamlakat bo'ylab gastrol safariga chiqdi.

Doktorning ikkilanishi

Keyinchalik Kornell Shouning o'yinida o'ynadi, Doktorning ikkilanishi va Raymond Massey uning oldida yulduzcha. Uning prodyuserlik kompaniyasi shunchalik ravon ishlaydiki, Massi shunday dedi: "Kim sizga nima desa, Kit o'z shousini olib bordi. Ular hamma narsani uning atrofidagi odamlar boshqargan, deyishadi, lekin bu mutlaqo to'g'ri emas. U sodir bo'layotganlarning hammasini bilar edi va u barcha qarorlarni qabul qildi. Kun oxirida uning kassa kvitansiyalari orqali poringni topishingiz mumkin edi. U aqlli va aqlli ishbilarmon ayol edi. "

Asar 1941 yilda San-Frantsiskoda, atigi bir hafta oldin ochilgan Pearl Harbor, va ko'plab o'chirilishlarga qaramay, yagona namoyish bekor qilinmadi. Urushning chalg'ishini hisobga olib, o'yin yaxshi qabul qilinmadi. Gregori Pek "kotib" sifatida turning bir qismi edi.

Urush yillari

AQSh Ikkinchi Jahon urushiga kirgandan ko'p o'tmay, Kornell qayta tiklanish to'g'risida qaror qabul qildi Candida armiya favqulodda vaziyatlar jamg'armasi va dengiz kuchlariga yordam ko'rsatish jamiyatidan foyda ko'rish. Ushbu spektaklning beshta asaridan to'rtinchisi yulduzlar to'plami bilan esda qoldi Raymond Massey, Burgess Meredith, Mildred Natvik va Dadli Digjes. Kornell barcha aktyorlarni, Shouni, teatr qo'llarini va Shubert tashkilotini o'zlarining mehnatlari, xizmatlari va joylarini xayr-ehson qilishga ishontirishga muvaffaq bo'ldi, shunda deyarli barcha mablag'lar to'g'ridan-to'g'ri jamg'arma mablag'lariga yo'naltirildi.

Uch opa-singil

Bir yil o'tgach, Rut Gordon Makklintichni ishlab chiqarishga undadi Anton Chexov "s Uch opa-singil. Judit Anderson Olga rolini o'ynadi, Gertruda Musgrove Irinaga tanlandi, Kornell esa Masha rolini o'ynadi. Boshqalar orasida teatr afsonasi ham bor edi Edmund Gvenn, Dennis King va Kirk Duglas Broadway-dagi debyutida. 1942 yil dekabrida Vashingtonda ochilgan o'yin moliyaviy jihatdan katta muvaffaqiyatlarga erishishi kutilmagan edi. Ochilish marosimida ishtirok etishdi Eleanor Ruzvelt va Sovet elchi. Yo'lga chiqishdan oldin u Nyu-Yorkda 122 spektaklda o'ynab, kam kutilganidan oshib ketdi. Bu AQShdagi har qanday Chexov spektaklidagi eng uzoq spektakli va shu vaqtgacha ushbu spektaklning eng uzoq spektakli bo'lgan.

Aytishlaricha, Kornell Mashani ruhparvarlik bilan zohiriysiz o'ynagan va u o'z rolida aqlni topgan. Vaqt Jurnal o'z ochilishini kutib, "Ketarin Kornell AQSh teatridagi eng yuqori darajadagi aktrisa, shuningdek, muvaffaqiyatli prodyuser va iste'dodli rejissyor Gutri Makklintichning rafiqasi deb bejiz aytmagan. O'tgan yillar davomida Kornell o'zining yaqin atrofidagi ko'plab filmlarni namoyish etdi. -miracles. She has made the yearning soul as good box office as the fiery body. She has made an invalid lady on a couch the essence of glamor. She has turned Shakespeare and Shaw into rousing hits. And when, next week, she brings her revival of Chekhov's 'The Three Sisters' to Broadway, it will boast a dream production by anybody's reckoning — the most glittering cast the theater has seen, commercially, in this generation."^[39]

Urush vaqtidagi xizmat

Kornell, Aline MacMahon va Doroti Filds serve soldiers played by Lon Makkallister va Maykl Xarrison yilda Sahna eshiklari oshxonasi (1943)

Cornell's only film role was speaking a few lines from Romeo va Juliet filmda, Sahna eshiklari oshxonasi (1943),^[40] which starred many of Broadway's best actors, under the auspices of the Amerika teatri qanoti for War Relief. This organization was created by playwright Reychel Krooter, and created the Stage Door Canteen to entertain troops during the war. Cornell donated time to work at the Canteen cleaning tables.^[41]

Umumiy Jorj C. Marshall asked Cornell to do a play to entertain the troops in Europe.^[42] Cornell decided to take Wimpole ko'chasidagi barretts to the troops in Europe as a touring production with the USO and the Special Services Division. However, the USO and the Division stated that no G.I. would sit for a three-hour kostyum dramasi about two middle-aged Viktoriya davri shoirlar. They suggested an alternate, some sort of "ribald fars " in case Barretts muvaffaqiyatsizlikni isbotladi. Cornell prepared Blithe Spirit, but nonetheless insisted upon Barretts, saying that if she was going to entertain the soldiers, she must take them her very best, and her very best was Barretts. The Army then asked that they cut the love scenes, as the play was far too long at three hours, wanted someone to "explain" the play to the men beforehand, and prepared her for what they saw as rude, tasteless and ignorant troops. The entire company, backed by Cornell and McClintic, resisted all entreaties and played their roles with every degree of authenticity as the Broadway original.

At the first production, the army's fears seemed to be validated. At the start of the play, which takes place in damp, chilly London, the doctor advises that Elizabeth go to Italiya dam olish uchun. The audience, G.I.s fighting in war-torn Italy, exploded in laughter, hooting, yelling and stamping. Aktrisaning so'zlariga ko'ra Margalo Gillmore, "It was true, then, we thought, they would go on laughing and it would never stop and the Barretts would go under a tidal wave of derision. But we were wrong. Kit and Guthrie were holding the laugh, just as if they had heard it a hundred times, not showing any alarm, not even seeming to wait for it, but handling it, controlling it, ready to take over at the first sign of its getting out of hand. It rose and fell and before it could rise again, Kit spoke."

The play continued, and outbreaks of an occasional catcall, guffaw or heckling were quickly shushed by others. Gillmore continues: "Kit had a shining light in her. With that strange sixth sense of the actor that functions unexplainably in complete independence of lines spoken and emotions projected, she had been aware of the gradual change out front from a dubious indifference to the complete absorption of interest. At first they hung back, keeping themselves separate from us, a little self-consciously, a little defiantly, and then line by line, scene by scene, she had felt them relax and respond and give themselves up to the play and the story, til at last they were that magic indivisible thing, an audience. 'We must never forget this, never,' said Kit. 'We've seen an audience born.'"

The tour opened in Santa Maria, a small town 15 miles north of Neapol, in 1944. G.I.s lined up three hours ahead of time and profusely thanked the cast afterwards. Brian Aherne wrote that after one show in Italy, the manager overheard a tough burly paratrooper say to his buddy, "Well, what I tell ya? Told ya it would be better than going to a cat house."^[42] Convinced of its success, the Army brass sanctioned two more weeks. The company eventually played for six months, from August 1944 to January 1945, throughout Italy, including stops in Rim, Florensiya va Siena. From there, the company was transferred under the aegis of General Duayt D. Eyzenxauer and played in France, including Dijon, Marsel va Versal. Parijda, Gertruda Shteyn va Elis B. Toklas wanted to see the play, but found that performances were strictly limited to enlisted personnel. They were nonetheless given disguises and were able to see the play. Additionally, the cast made a point of visiting hospitals every day throughout the entire tour.^[43]

Now aged 51, Cornell was then told by the Army that she had done enough for the effort and to remain in Paris. Her response was to be taken as close to the front as possible. Kompaniya yilda Maastrixt va Xerlen in the Netherlands, just eight miles from the front. The tour concluded in London amid exploding German V-2 bomba.

Upon her return to New York, Cornell found mail piled up from the G.I.s who had seen the show. They thanked her for "the most nerve-soothing remedy for a weary G.I.," for having brought "yearned-for femininity," reminding them that, unlike other USO shows, "a woman is not all leg," and for "the awakening of something that I thought died with the passing of routine military life in the foreign service."

Long after the tour was finished, Cornell continued to receive letters, not just from servicemen who had seen the show, but from wives, mothers and even school teachers from the home front. Their letters say that the first letter they received from their boy came after he had seen her show, or it was the first time they had heard from them in two years. Fellow actors reported that G.I.s in the Tinch okeanining janubiy qismi were heard to talk about the show.

After the war, Cornell co-chaired the Community Players, a successor to the American Theatre Wing, to assist war veterans and their families on their return home.

Cornell was featured for the second time on the cover of Vaqt magazine on December 21, 1942, with Judith Anderson and Ruth Gordon.^[44]

Urushdan keyingi o'zgarishlar

Candida, revived

After the war, American theater was experiencing a change in style with the new generation. Cornell revived Candida for the fifth and last time in April 1946, with Marlon Brando playing the role of the young Marchbanks. Whereas Cornell represented an older, exuberant romantic style, Brando heralded the newer style of Method Acting, with its reliance upon psychological insights and personal experience. Although reviews were as good as ever, audiences and some critics had difficulty with the play itself, as the Edwardian drama had little relevance to post-war American life.

Now in her mid-50s, appropriate roles became harder to find. The plays that had earned her such an exceptional reputation—young Elizabeth Barrett, Juliet, St. Joan, various sexually charged women—were no longer playable by her. The newer roles were simply not her style.

Shakespeare and Anouilh

In 1946, Cornell chose Shakespeare's Antoniy va Kleopatra da ochilgan Hanna Theater in Cleveland, a difficult role for which she was ideally suited. Critic Ward Morrison praised Cornell's "beauty and power and grandeur and I do not hesitate to proclaim it one of the finest achievements of her career." Again, Cornell's presence insured that this play had its longest run ever, at 251 performances.

She followed that with Jan Anouilh 's adaptation of the Greek tragedy Antigon. Janob Sedrik Xardvik played King Kreon va Marlon Brando was cast as The Messenger. After the opening, Cornell's friend Xelen Keller told her, "This play is a parable of humanity. It has no time or space." One critic said, "if the world and the theatre had more courageous spirits like [Cornell], our cumulative dreams would be greater, our thoughts, nobler."

Alternating with Antoniy, Cornell produced another revival of Barretts of Wimpole Street, for an eight-week tour to the West Coast, with Toni Rendall in both plays, and Mureen Stapleton as Iras in Antoniy.^[45] Boshqa aktyorlar tarkibiga kiritilgan Eli Uolach, Jozef Uayzman, Duglas Uotson, Charles Nolte va Charlton Xeston.

Postwar theatre

Finding good roles became increasingly a concern. Keyt O'Brayen dramatized her historical novel For One Sweet Grape ichiga O'sha ayol, set in the Spain of Filipp II. A swashbuckling romance, the play was not well received. In 1951, Cornell played the lead in Somerset Maugham 's comedy, Doimiy xotin for a summer festival in Colorado. The play, starring her longtime favorite Brian Aherne, was produced again in New York and grossed more money for the production company than any other play.

In 1953, Cornell found a suitable role in The Prescott Proposals, about a United States Delegate to the Birlashgan Millatlar. Kristofer Fray wrote a verse drama Zulmat yetarli, set 1848 Austria. The cast included Tyrone Power, who played the love interest, Lorne Grin va Marian Uinters. (Kristofer Plummer was Power's o'qimaganlik. Uning ichida xotira, Plummer states that Cornell was "the last of the great actress-managers," and that she was his "sponsor.")^[46] In 1957, Cornell staged Kechasi bo'lmaydi, Pulitser mukofoti g'alaba qozongan o'yin Robert E. Shervud, adapted to the events of the 1956 yildagi Vengriya inqilobi. This play was adapted for TV and broadcast on NBC "s Hallmark Shon-sharaf zali bilan Charlz Boyer, Bredford Dillman va Rey Uolston. Another play by Fry, The Firstborn, was set in Biblical Egypt, with Entoni Kvayl playing Moses. Leonard Bernshteyn, recently appointed musical director of the Nyu-York filarmoniyasi, wrote two songs for the production. The play toured in Tel-Aviv in 1958. She continued with several other forgettable plays, and her last production was Dear Liar by Jerome Kilty.

Although Cornell was constantly performing, she took a three-year absence from 1955 to 1958 while she recovered from a lung operation. Additionally, with the exception of Doimiy xotin, box office receipts were lagging even when she received excellent reviews. Tours continued to sell out, but even those began to fail as the decade bore on. By the end of the 1950s, the C. & M.C production company was finished. She did find time in 1954 to be narrator for the film Fath qilinmagan, the life story of her friend Xelen Keller.

Starting in the 1940s, however, she began to collect tributes from various theatrical organization and colleges and universities, which bestowed her with honorary degrees and awards.

Radio

Cornell made her radio debut May 6, 1951, on Havodagi teatr gildiyasi. The program featured the first broadcast of Jorj Bernard Shou "s Candida.^[47][48] On April 13, 1952, she appeared in Florence Nightingale, also on The Theatre Guild on the Air.^[49]

Iste'fo

McClintic died on October 29, 1961 of a lung haemorrhage, shortly after the couple had celebrated their 40th wedding anniversary. As he had always directed Cornell in every production since their marriage, she decided to retire from the stage altogether. She sold her residences and bought a house on East 51st Street in Manxetten, qo'shni Brayan Aherne va ko'chadan pastga Margalo Gillmore. Since all three were cast members of Barretts, East 51st Street became known as Wimpole ko'chasi. Cornell also bought an old building on Martaning uzumzori known as The Barn and made additions to it, and restored the 300-year-old Association Hall on the island.

For her 80th birthday party in 1973, an assistant put together a tape of birthday greetings from Lorens Olivier, Jon Gielgud va Ralf Richardson, among many other actors whom she had known. The tape runs for seven and half hours. U vafot etdi zotiljam on June 9, 1974 at The Barn in Tisbury, Massachusetts.

On acting and the theatre

Cornell served on the Board of Directors of The Rehearsal Club. The club was a place for young actresses to stay while they looked for work, and offered support for their careers. Occasionally, she could be seen serving food to the women, and McClintic often found minor roles in his productions for them.

In her memoir, Cornell states: "I do think that the rapid success achieved by some people in pictures has seriously hurt the chances of a lot of young men and women who are studying for the stage. The success stories that we read in the Hollywood magazines make it all sound too easy. A youngster was a chauffeur yesterday and today he owns four swimming pools! It doesn't work that way on the stage... Some young actresses haven't been inclined to listen to me when I told that there was no royal road to success on the stage.

"Getting started in the theatre still has a great element of luck in it, of course. Some producer must see the right person at just the right time. To get that kind of break, a girl has got to keep pounding away and tramp the streets from one manager's office to another, no matter how discouraging it may be. At the same time, she must remember that when the break does come, she must have the equipment necessary to capitalise on it. I get the impression that most of the young girls who come to me for parts simply haven't worked hard enough. In New York they have every chance in the world to round out their education in their spare time. At the galleries along 57th Street they can see the best pictures in all the world. They can hear the finest music. They can get the best books in inexpensive editions. Best of all, they can listen to the finest actors and actresses of the day. When they tell me that they can't afford to go to the theatre very often, I usually find they think it beneath their dignity to sit in the top balcony!

"I think the most important thing for young actresses to do is to learn to use their voices properly. I always found that reading French aloud helped me tremendously. I think that French makes you use your mouth more than any other language I know. I still occasionally read some French book aloud to myself before a performance." ^[50]

Meros

Katharine Cornell was one of the most respected, versatile stage actresses of the early-mid 20th century, moving easily from comedy to melodrama, and from classics to contemporary plays.^[51] She was a particularly accomplished interpreter of romantic and character roles.

Theatres and research centers

The Tisberi Town Hall on Martha's Vineyard houses a theatre on its second floor. Originally known as Association Hall, it was renamed "The Katharine Cornell Theater" in her honor and later, her memory. A donation from her estate provided the funds for renovation (lighting, heating, elevator) as well as decoration of four large murals depicting Vineyard life and legend by local artist Stan Murphy. The Katharine Cornell Theater is a popular venue for plays, music, movies and more. Her gravesite and memorial are located next door to the Theater.

There is another theater space at the Buffalodagi Nyu-York davlat universiteti uning sharafiga nomlangan.^[52] Many student productions are presented there year-round.

The Katharine Cornell-Guthrie McClintic Special Collections Reading Room was dedicated in April 1974 at the Amaliy san'at uchun Nyu-York ommaviy kutubxonasi da Linkoln markazi. The Billy Rose Theatre Division at the library holds extensive archival and special collections materials related to Cornell and McClintic.

Smit kolleji has a collection of Cornell's papers dating from 1938 to 1960,^[53] plus additional materials in the papers of Nensi Xemilton.^[54]

The New York Public Library contains correspondence between Russian dance critic Igor Stupnikov and Cornell's assistants Nancy Hamilton and Gertrude Macy in the Billi Rouz Theater Archive.

Cornell donated some of her costumes designed by famed Russian fashion designer Valentina uchun Nyu-York shahrining muzeyi.^[55] They include costumes for her roles in Kleopatra va Antigon.

Cornell and Quayle also recorded for LP a scene from Barretts, and Cornell recited a selection of poetry by Elizabeth Barrett from Portugaliyalik sonetlar.^[56] Cornell's short scene in Sahna eshiklari oshxonasi can be viewed on YouTube. In it, she recites some lines from Romeo and Juliet. Video kuni YouTube

Paley ommaviy axborot vositalari markazi

Cornell's TV debut in the Prodyuserlarning vitrini ishlab chiqarish Wimpole ko'chasidagi barretts (1956)

The Paley ommaviy axborot vositalari markazi has a collection of Cornell's television appearances:

On April 2, 1956, NBC TV broadcast of a production of Barretts bilan Entoni Kvayl as Robert Browning.^[57] U taniqli edi Hallmark Shon-sharaf zali ishlab chiqarish Robert E. Shervud o'yin, Kechasi bo'lmaydi, which was broadcast on NBC on March 17, 1957.^[58]

On January 6, 1957, Deyv Garrouey interviewed Cornell for Keng dunyo: A Woman's Story.^[59]

She appeared on TV as herself for an NBC simfonik orkestri broadcast on March 22, 1952^[60] She was also interviewed three times for the radio program Sahna urildi, hosted by Mike Wallace.^[61][62][63]

Mukofotlar va sharaflar

Katharine Cornell was one of three actresses awarded in the first Tony awards (1937, award year 1948), her award was received for her performance in Antoniy va Kleopatra. She was also honored with the first New York Drama ligasi mukofoti in 1935 for her performance as Juliet.^{[iqtibos kerak ]} In March 1937, The Chi Omega sorority's National Achievement Award was given to her by Eleanor Ruzvelt a oq uy ziyofat.

Cornell was awarded a medal "for good speech on the stage" by the Amerika San'at va Fanlar Akademiyasi, and received a citation as Woman of the Year by the American Friends of the Ibroniy universiteti in 1959. After her role in Sent-Joan, she was awarded faxriy darajalar dan Viskonsin universiteti, Elmira kolleji^[64] Smit kolleji, Pensilvaniya universiteti va Xobart. Klark universiteti, Ithaka kolleji va Prinston awarded degrees in the 1940s, and Baylor universiteti, Middlebury kolleji va Kenyon kolleji awarded theirs in the 1950s.

On January 10, 1974, she received the Amerika milliy teatri va akademiyasi 's National Artist Award for "her incomparable acting ability" and for "having elevated the theater throughout the world."^[65] In 1935, when the University of Buffalo was still a private institution, she was awarded the Chancellor's Medal of the University. The Artvoice, a weekly arts newspaper in Cornell's native Buffalo, each year awards the Katharine Cornell Award to a visiting artist for outstanding contribution to the Buffalo theatrical community.

The townhouse at 23 Beekman Place that Cornell and her husband lived in for many years has a historical marker in honor of their importance to New York City.^{[iqtibos kerak ]}

Katharine Cornell was one of the original members elected into the Amerika teatri shon-sharaf zali upon its establishment in 1972.^[66]

Biografiyalar

• Katarin Kornell I Wanted to Be an Actress, 1939 by Random House.
• Guthrie McClintic Me & Kit, 1955 by the Atlantic Monthly Press/Little Brown Company.
• Lucille M. Pederson Katharine Cornell: A Bio-bibliography, 1994 by the Greenwood Press ISBN  9780313277184
• Gladis Malvern Curtain Up! The Story of Katharine Cornell, 1943 by Julian Messner, Inc., and includes a foreword by Cornell.^[67]
• Igor Stupnikov Ketrin Kornell, 1973 by Leningrad, Iskusstvo, Lening ^[68]
• Ilhomlangan Wimpole ko'chasidagi barretts, Virjiniya Vulf yozgan Flush: biografiya, 1933, by Harcourt, Brace
  • a part-fiction, part-biography of the original dog owned by Elizabeth Barrett ^[69]

Subject of artworks

Bronze bust of Katharine Cornell by Anna Glenny (1930), in the collection of the Olbrayt-Noks san'at galereyasi

The Smitson instituti holds a bronze bust of Cornell from 1961 by artist Malvina Xofman.^[70][71] It has a pastel portrait by William Cotton from 1933.^[72]

The Olbrayt-Noks san'at galereyasi in Buffalo, New York, has a 1926 full-length portrait of Cornell by artist Eugene Speicher in her role as Candida.^[73] The gallery also possesses a 1930 life mask by Karl Illava, an undated drawing of her as Elizabeth Barrett by Louis Lupas, and two sculptures by Anna Glenny Dunbar from 1930.^[74]

The Armstrong Browning Library at Baylor universiteti has a portrait of Cornell^[75] in her role as Elizabeth Barrett painted by Alexander Clayton on display. The actress donated the portrait and several items related to Barretts kutubxonaga.^{[iqtibos kerak ]}

The Buffalodagi Nyu-York davlat universiteti holds a portrait of Cornell painted by surrealist Salvador Dali dated 1951.^[76]

Karikaturachi Alex Gard created a caricature of Cornell for Sardiki, the famed New York restaurant. Hozirda^{[qachon? ]} housed in the Billy Rose Theatre Collection of the New York Public Library.

Although Cornell is buried in Tisbury, Massachusets bor senotaf in her memory in the George W. Tifft plot at O'rmon maysazorlari qabristoni in her native Buffalo.^{[iqtibos kerak ]}

The Katharine Cornell Foundation

The Katharine Cornell Foundation was funded with profits from Barretts. The foundation was dissolved in 1963, distributing its assets to the Zamonaviy san'at muzeyi (to honor her close friend from Buffalo, A. Goodyear-ga murojaat qiling,^[77] who was a founder of MoMA and its first president), Kornell universiteti 's theater department, and the Actor's Fund of America.

Madaniy ma'lumotnomalar

Cornell is featured in a play by Buffalo-born playwright A. R. Gurney huquqiga ega The Grand Manner.^[78] The play is about his encounter with Cornell as a young man when she was in the production of Antoniy va Kleopatra. The play ran during summer 2010 at Linkoln markazi va yulduzcha Keyt Berton as Cornell.^[79] In Buffalo, the play was produced by the Kavinoky Theatre in May 2011.^[80]

Cornell is referenced as a plot point in the comedy Kechki ovqatga kelgan odam tomonidan Moss Xart va Jorj S. Kaufman. The character Bert Jefferson writes a play, and his girlfriend Maggie Cutler, convinced the play would be a hit on Broadway, gives the play to another character in the hopes that Katharine Cornell will produce it.^[81]

Adabiyotlar

Tashqi havolalar

• Katarin Kornell da Internet Broadway ma'lumotlar bazasi
• Katarin Kornell kuni IMDb
• Katharine Cornell's Home at Buffalo Architecture and History
• Katharine Cornell papers in the Billy Rose Theatre Division, Amaliy san'at uchun Nyu-York ommaviy kutubxonasi
• Katharine Cornell papers da Sofiya Smit to'plami, Smit kollejining maxsus to'plamlari