Rierie様のご厚意により、RADAの写真集 『OFF STAGE』 から ケネス・ブラナーのページを翻訳して頂きました。

Kenneth Branagh, 1979-81

Ken came around to my house in Chelsea and, for some reason, I was expecting a cavalcade and entourage. Instead, he walked in off the street and said, ‘Hi’. This, for no explicable reason, made me more nervous that I have ever been for any other portrait session ever. I basically thought I had made a fool of myself although I knew the pictures were fine. Imagine my surprise when a few weeks later, ken’s PA calls to say ‘Ken really likes the way you work and wonders if you would like to do something with him for his new film.’ Relief was not the word.

I did the obvious things. I did a bit of Hamlet, and a bit of Edmund from King Lear. You had to wait in a common room at the top of the building, and that itself was quite exciting because you got to walk up the main steps with awards on the walls going back to 1905.

It was snowing the day the letter arrived. We had a very over-excited dog called Ben, who was prone to chewing up the mail. It arrived and I was at home. I just remember jumping for joy, and then taking the dog out for a long walk for miles and miles.

I was most drawn to the classics and Shakespeare. I liked the stage fighting and the dancey stuff. I remember I wasn’t very good at being an animal. We had be an animal for a long time, and I wasn’t great at it. Mime, I wasn’t very good at, either.

It was exciting because I went when I was 18, it was the first time I’d moved away from home and London is London. I was a grafter though, I really worked hard. I was excited to be there, and couldn’t get over the feeling of ‘being there’, of that building, with all those famous names everywhere. We worked hard and played hard. Most people did both.

My accent changed. They have a very important test on Academy Standard English ? news reader English, basically ? and they were very damning about how they judged that. You ended up working on that a great deal. I was pretty neutral when I went, pretty suburban. I suppose it just got polished up. You were also doing speech classes about twice a day.

I think that first group dynamic, when you’re all living away from home is very important. Learning how to get on inside a group. Living in this world where your emotions are very close to the surface. That’s all as memorable as what you learned about acing. It was an intensive experience. I think the life skills I learned were people skills.
I really enjoyed being in a Woody Allen film called celebrity. When I got the job he wrote me a letter that began, “Dear Ken, When I wrote this, I knew that there was only one actor in the world who could play this part: Alec Baldwin. But he’s not available, so I picked you.”

ケンがチェルシーにある私の家にやってきた。なんらかの理由で、私は取り巻きや集団がある事を予想していた。 しかしそうではなく、彼は通りから外れて歩いてやってきて言った、「やあ」。 なぜだか説明できないのだが、この時が人物撮影の中で今までになく一番緊張したものであった。 写真は大丈夫だと分かっているにも関わらず、つまりは馬鹿な事をしてしまったと思った。私の驚きを想像してみて。2・3週間後にケンのアシスタントが電話をしてきて、「ケンがあなたの仕事の仕方をとても気に入り、彼の新しい映画で何か一緒にできないかと聞いています。」‘その安堵感は言葉にならなかった’。

私はすぐ分かるものを演じた。ハムレットを少し、そしてリア王のエドモンドを少し演じた。 私は建物の最上階にある談話室で待たなくてはならなかったが、それ自身はとてもわくわくするものだった。なぜなら中央階段の壁にかかっている賞を1905年に遡り見ながらを歩いて上がっていくからであった。





ウッディ・アレンの映画“celebrity”はほんとに楽しかった。その仕事を得たとき、彼から私への手紙の始まりはこう書かれていた。「親愛なるケンへ。この手紙を書いたとき、私はこの世界にこの役を演じられるのはAlec Baldwinだけだと分かっていた。でも彼はあいていなかった。だから君を選んだんだ。」

Henry V; Golden Girls; Hamlet and Love’s Labour’s Lost(RSC); Romeo and Juliet, actor and director(Lyric Studio, Hammersmith); Public Enemy, actor and writer(Lyric Theatre, Hammersmith); As you Like it; Hamlet and Much Ado about Nothing(The Renaissance Shakespeare Season); Look Back in Anger(on tour, Lyric Theatre and Thames Television); A Midsummer Night’s Dream; King Lear, actor and director(Would Tour); Hamlet(RSC); Richard V(Sheffield Crucible); Edmond (National Theatre)

Henry V, actor and director; Peter’s Friends; Much Ado about Nothing; Mary Shelly’s Frankenstein, actor and director; Othello; Celebrity; Rabbit Proof Fence; Harry Potter and the Chamber of Secrets; Hamlet, actor and director; love’s Labour’s Lost actor an director

Ghost; Coming Through; Fortunes of War; Strange Interlude; The Lady’s not for Burning; Shadow of a Gunman; Conspiracy; Shackleton

John Sessions’ The Life of Napoleon; The American Story (for Renaissance, tour and West End); Twelfth Nigh (for Renaissance at Riverside Studios, London); Co-directed Uncle Vanya with Peter Egan (Renaissance UK tour); The Play what I Wrote (Wyndham’s Theatre and on Broadway).

Plays - Tell me Honestly (performed in London, Newcastle and Oslo); Public Enemy (performed in London, New York and Los Angeles).
Autobiography - Beginning, (Chatto & Windus).
Adaptations - Shakespeare’s Henry V; Much Ado about Nothing; and Hamlet
Screenplay - in the Bleak Midwinter (Newmarket Press).