This article was published By Dominic Cavendish on 19 Mar 2013 on the website "www.telegraph.co.uk" and tells us about John Logan's professional work and though in demand in Hollywood, he tells Dominic Cavendish why he is focused on his new play about the 'real’ Peter Pan and Alice in Wonderland.
The author points out , that John Logan marvels in awestruck tones as he recalls the Royal Command premiere of Skyfall at the Royal Albert Hall last October, given in the presence of the Prince of Wales and the Duchess of Cornwall, telling the author, that he never seen anything like it in his previous life. The author also adds, that having played an instrumental role, as screenwriter, in one of the most talked-about movies for ages and the biggest-grossing Bond film of all time, Logan, 51, would be forgiven for not yet having come down to earth. ( and it would be accurate to mention about his major works and credits, credits combining distinction with daring, whether it be Gladiator, The Aviator, Sweeney Todd, Coriolanus (starring Ralph Fiennes), Hugo, or indeed Bond number 23, which has so far raked in more than $1.1 billion.
The author admits, that the play that made his name over here – and which sent his reputation sky-high Stateside after it won six Tony Awards on Broadway – was Red, his fictionalised portrait of the abstract expressionist Mark Rothko circa 1958-9.
It would be unfair for Cavendish , not to mention, that before any further work takes place on that, though, his time is amply taken up with his new play, which springboards off a real-life, little-known encounter in June 1932 between Peter Llewelyn Davies and Alice Liddell Hargreaves – the inspirations for JM Barrie’s Peter Pan and Lewis Carroll’s Alice.
Moreover , analysing the situation in the word it is necessary to emphasize that as with Red, the idea for which hit him on encountering Rothko’s Seagram murals at Tate Modern in 2007, so Peter and Alice was prompted by a chance find, he explains and thumbing through a copy of a biography called The Real Alice, Logan came across a mention of a meeting at Bumpus bookshop, Oxford Street, between Alice (then 80) and Peter (then 35), and gave him. The a multi-character drama that will interweave fact and fiction and take wing across the worlds of Neverland and Wonderland.
The author tell us, that the play will inevitably focus on how its two principal characters came to be overshadowed by their ever-youthful literary incarnations and by the men who moulded them into fiction - Logan is after universal themes too, though.
The authors draws a conclusion saying, that one thing’s clear in advance: some Disneyfied or sickly sentimental treatment this ain’t. and that Logan is extremely interested in writing plays (moreover in plays, that are about anguish in a way). Cavendish says, that Logan believes in sacred power of stage and if something is to be truly stage-worthy, then it has to be unafraid to deal with the biggest, darkest themes and for Peter and Alice, the stakes really were life and death.
In my opinion, it's a great ability to switch between the world of cinema and the world of theater - but you should choose the right way of your creative life, to feel the magnetism of your favorite work - only then a true masterpiece would be born .
The author points out , that John Logan marvels in awestruck tones as he recalls the Royal Command premiere of Skyfall at the Royal Albert Hall last October, given in the presence of the Prince of Wales and the Duchess of Cornwall, telling the author, that he never seen anything like it in his previous life. The author also adds, that having played an instrumental role, as screenwriter, in one of the most talked-about movies for ages and the biggest-grossing Bond film of all time, Logan, 51, would be forgiven for not yet having come down to earth. ( and it would be accurate to mention about his major works and credits, credits combining distinction with daring, whether it be Gladiator, The Aviator, Sweeney Todd, Coriolanus (starring Ralph Fiennes), Hugo, or indeed Bond number 23, which has so far raked in more than $1.1 billion.
The author admits, that the play that made his name over here – and which sent his reputation sky-high Stateside after it won six Tony Awards on Broadway – was Red, his fictionalised portrait of the abstract expressionist Mark Rothko circa 1958-9.
It would be unfair for Cavendish , not to mention, that before any further work takes place on that, though, his time is amply taken up with his new play, which springboards off a real-life, little-known encounter in June 1932 between Peter Llewelyn Davies and Alice Liddell Hargreaves – the inspirations for JM Barrie’s Peter Pan and Lewis Carroll’s Alice.
Moreover , analysing the situation in the word it is necessary to emphasize that as with Red, the idea for which hit him on encountering Rothko’s Seagram murals at Tate Modern in 2007, so Peter and Alice was prompted by a chance find, he explains and thumbing through a copy of a biography called The Real Alice, Logan came across a mention of a meeting at Bumpus bookshop, Oxford Street, between Alice (then 80) and Peter (then 35), and gave him. The a multi-character drama that will interweave fact and fiction and take wing across the worlds of Neverland and Wonderland.
The author tell us, that the play will inevitably focus on how its two principal characters came to be overshadowed by their ever-youthful literary incarnations and by the men who moulded them into fiction - Logan is after universal themes too, though.
The authors draws a conclusion saying, that one thing’s clear in advance: some Disneyfied or sickly sentimental treatment this ain’t. and that Logan is extremely interested in writing plays (moreover in plays, that are about anguish in a way). Cavendish says, that Logan believes in sacred power of stage and if something is to be truly stage-worthy, then it has to be unafraid to deal with the biggest, darkest themes and for Peter and Alice, the stakes really were life and death.
In my opinion, it's a great ability to switch between the world of cinema and the world of theater - but you should choose the right way of your creative life, to feel the magnetism of your favorite work - only then a true masterpiece would be born .
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ОтветитьУдалитьThe impression is that you borrow pieces of the text.
Try to paraphrase more and make your reading more readable.
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