2017年8月30日 星期三

柯文哲 (Wen-je Ko):台北世大運滿堂彩?台灣是一個成功的故事,台北是一座光榮的城市、


台北世大運落幕:從不看好到滿堂彩?

鄭仲嵐BBC中文台灣特約記者

圖片版權EPAImage caption台北世大運30日落幕。

8月30日,在台北市立田徑場,萬名選手齊聚世界大學運動會閉幕典禮現場,與滿場的觀眾一起歡送這一屆的台北世大運。不只閉幕式門票早早售完,場內也舉辦許多聲光表演,並與下一屆的主辦城市——意大利拿坡裏舉辦慎重交接。

台北市長柯文哲在閉幕致詞時提及"這場運動盛會,讓台灣用運動和世界交朋友,讓台灣更緊密的融入國際社會,讓世界看見台灣"。

他並提及"美麗島——福爾摩沙,將繼續帶著海洋子民的勇氣與開放的胸襟,勇敢的航向全世界",這段話讓一度全場氣氛高昂。

"讓世界看見台灣"

根據這一屆官方數據,總共售出了72萬張賽事門票,平均上座率是87%,遠遠超過上一屆光州世大運的52%。門票收益超過台幣1.4億元(約360萬磅),被國際大學體育總會會長馬蒂特辛稱讚是"最成功的賽事"。



柯文哲
14小時
陳副總統,Matytsin會長,義大利拿坡里市代表,各位選手與隊職員,在座的嘉賓,全球的觀眾朋友,大家晚安,我是臺北市長柯文哲。
 
2017臺北世大運,將在今晚畫下句點。來自世界各國的青年好手,12天來在北臺灣的競技場上拚鬥,你們追求卓越的熱情令人感動。感謝你們,讓臺北的夏天更加多采多姿,讓2300萬的臺灣人民有這個榮幸,陪伴你們一起創造歷史,留下你們在臺灣最美好的回憶。
 
感謝國際大學運動總會(FISU)的支持,讓世大運在臺北成功舉辦。
 
感謝郝龍斌前市長,成功申辦世大運。
 
感謝蔡總統、行政院各部會、場館所在地的各縣市政府鼎力支持,才能讓上萬名的選手與隊職員,在臺北完成這場運動盛事。
 
感謝世大運執行長蘇麗瓊,帶領執行委員會的工作同仁,在大家都不看好的情形下,完成這個艱苦的任務。
 
感謝紀政召集人,帶領顧問團提供專業的諮詢。
 
還有,這六年來一起奉獻心力的市府同仁,感謝你們。
 
世大運的成功舉辦,要歸功於無數的無名英雄。無論是場館的整建、市容的美化、負責維安的軍警、負責運輸的交通人員、隨時待命的醫護消防人員,以及一萬多名志工、各場活動的表演者,以及轉播人員。
 
還有,實際購票進場支持這場盛會的民眾。
 
因為有你們,臺灣才有機會向世界證明臺灣的力量;因為有你們,臺北才更有自信迎向光榮城市的未來。
 
榮耀屬於你們,請大家給自己,及我們的臺灣一個熱情的掌聲。
 
2017臺北世大運,即將交棒給同樣充滿熱情的義大利拿坡里市,也請大家給2019拿坡里世大運一個熱情的祝福。
 
臺北世大運的結束,是一個新的開始,這場運動盛會,讓臺灣用運動和世界交朋友,讓臺灣更緊密的融入國際社會。
 
讓世界看見臺灣。
 
臺灣,是一個成功的故事;臺北,是一個光榮的城市。
 
美麗島-福爾摩沙,將繼續帶著海洋子民的勇氣,和開放的胸襟,勇敢的航向全世界!
 
再次感謝全世界光臨臺灣,謝謝大家。



莊豐嘉
經過這一夜,所有藍綠政客都該審視一個全新的課題,即為什麼柯文哲的世大運閉幕演講,兩個世代的反應會如此兩極?柯文哲引領的究竟是怎樣的一種新政治文化?
對長一輩而言,柯文哲的文稿,既無文采,也缺乏新意,只不過是強調台灣和世界的連結,讓世界看見台灣這些話語,都早已經是老套過時了。
但是,年輕一代卻深受感動和鼓舞,柯儼然是新一代的總統最佳人選了。是怎樣的元素,讓不同世代的人有如此大的不同感受?
還沒有結論,但初步覺得,國家是由人民組成,而將主導這個國家未來的新世代,他們對國家的想像,已經產生新的想像共和國,既非國民黨的中華民國,也不是獨派的台灣共和國,而是一個新的想像混合體。
果真如此,誰掌握住這個混合體共和國的脈動,這位政客就握有未來的決定性力量。至於這樣的走向,對台灣是福還是禍?答案有待大家深思。



不得不說,柯文哲在世大運的閉幕致詞,特別在最後那段,「台灣是一個成功的故事,台北是一座光榮的城市,美麗島、福爾摩沙,將繼續帶著海洋子民的勇氣與開放的胸襟,航向全世界!」不論文辭、口氣、手勢與表情,還有最重要的,背後隱隱若現的雄心壯志,就一個首都市長與國際運動會主辦人來講,都十分到位。
這段致詞跟他幾年前競選時所用的,哥倫布航向新大陸的譬喻,可說相互呼應。

吳興國 李國修。陳柏霖(Bo-Lin Chen )


莎士比亞悲劇《馬克白》搬到中國春秋戰國時代會是什麼樣子?「當代傳奇劇場」藝術總監吳興國在香港 光華新聞文化中心 接受BBC中文專訪,談31年前創團作品《慾望城國》如何突破傳統。
當代傳奇劇場 Contemporary Legend Theatre #莎士比亞 #京劇


-1:35



 吳興國:盼重返倫敦劇院獻藝 【中央社╱倫敦21日專電】      2013.08.21 09:21 pm 
台灣當代傳奇劇場藝術總監吳興國說,1990年「慾望城國」在英國國家劇院的成功演出,奠定當代傳奇走向國際舞台的重要基石,他期盼能再重返倫敦這個戲劇之都獻藝。  吳興國剛結束在國際知名的愛丁堡藝術節演出,這是他繼2011年「李爾在此」後,第2度在愛丁堡藝術節表演,安排改編自卡夫卡同名作品「蛻變」,進行世界首演,受到觀眾熱烈迴響。  2004年吳興國也曾受邀在倫敦ICA當代藝術中心,演出改編自莎士比亞「李爾王」的「李爾在此」。  吳興國接受中央社記者訪問時說,中國傳統戲劇在自己的環境面臨很大困難,觀眾也很少,做為繼承者他深知傳統戲劇的精緻和智慧,要讓世界認識中國傳統戲劇,最快的方式就是結合西方的作品。  他說,「這樣做雖然有危險性,但從1990年改編自馬克白的『慾望城國』,受到英國國家劇院的邀請,演出造成轟動,這讓我了解要勇敢的跨出去,不能一直在自己的空間裡。」  吳興國指出,現在是跨領域、跨文化、甚至混搭的時代,「在傳統中加入一點國際的元素,有如一朵盛開的鮮花,很容易被發現而且會非常芬芳」,從當代傳奇劇場成立28年的經驗來看,證明自己沒有走錯路。  他同時認為,未來更重要的是應該拿中國自己的文學作品與西方交流,讓西方人認識我們真正的情感與戲劇,和音樂文學如何結合,他鼓勵大家應不斷進行國際交流。  吳興國說,400年來倫敦一直是英國的戲劇之都,許多莎士比亞的作品都在這裡演出,戲劇十分蓬勃,如果劇院有邀請,他希望能不斷來英國演出。  日前吳興國與當代傳奇劇場行政總監林秀偉訪問國家劇院,舊地重遊,並與劇院企劃總監霍克斯(Robin Hawkes)會面暢談。  安排吳興國在「大師班」授課的倫敦「海馬克皇家劇院」創意總監朱萊佛(Alice Driver)說,當代傳奇劇場的節目內容非常特別,特別是吳興國巧妙將東西文化結合,讓觀眾能容易理解進而喜愛,她相信這樣的節目在倫敦的劇場一定會受到歡迎,特別是那些專走國際觀眾路線的劇場。 



李國修「開門、上台、演戲」。陳柏霖(Bo-Lin Chen )




台北藝術大學戲劇學系講師于善祿分析,其作品中的自傳性色彩、家國敘事、反映時事、人文關懷、身分 認同等內容與形式,幾乎已經自成一格。挖掘李國修的大老吳靜吉在《李國修戲劇作品全集》序言中表示,李國修的自我反思、對社會的關懷、對戲劇的激情、理性 和感性兼具的創作表現,樣樣難能可貴。
李國修養病時,不忘經驗傳承,完成二十七本《李國修戲劇作品全集》出版,指示藝術總監由製作人林佳鋒接任、屏風表演班已公開的演出行程將照常進行。得意弟子黃致凱等,也都有接班之姿。



 維基百科,自由的百科全書
李國修Hugh K. S. Lee,1955年12月30日-2013年7月2日)[1],祖籍山東萊陽,生於台北市,為台灣當代舞台劇大師,集編劇、導演、演員及劇團負責人於一身,素有「戲劇鬼才」之稱呼[2][3]。曾參與蘭陵劇坊、創辦表演工作坊屏風表演班。曾任屏風表演班藝術總監,也是國立台北藝術大學劇本創作研究所兼任副教授2010年4月—6月於清雲科技大學擔任駐校藝術家,其妻為台灣知名藝人王月


李國修,1955年12月30日出生於台灣,A型魔羯座,成長在西門町中華商場,父親是製作國劇手工戲靴的藝師。母親與父親同鄉,以母親為作品《女兒紅》的主角原型。 李國修十八歲就讀世界新聞專科學校時加入話劇社,畢業於世新廣電科,因為興趣而投入劇場演出及創作。1980年接觸吳靜吉博士創立的耕莘實驗劇團(蘭陵劇坊的前身)。因演出蘭陵劇坊荷珠新配」中的趙旺,受到大家的注意。後來參加華視綜藝100的演出,成為家喻戶曉的喜劇演員,在1982年因「唐三五戒」連續劇獲得電視金鐘獎的「最具潛力戲劇演員獎」。
1984年,與賴聲川、李立群,創立表演工作坊,1985年參與創團演出《那一夜,我們說相聲[4],1986年,三十一歲的他創辦了「屏風表演班」,舞台編導作品有三十餘齣,包括《三人行不行》系列、《半里長城》、《莎姆雷特》、《西出陽關》、《京戲啟示錄》等。李國修不但身兼編劇導演,也經常參與舞台劇的演出。其中在《西出陽關》一劇中飾演「老齊」一角,被台灣媒體評為「李國修最具卓別林高度的演出」[5]
2011年12月21日,李國修傳出罹患大腸癌第3期,並於12月30日於台北田徑場舉辦「李國修暫別舞台京戲啟示錄戶外轉播場」後,專心養病而暫停2012年的演出。2013年7月2日凌晨3時34分因大腸癌,病逝於中國醫藥大學附設醫院,享年58歲。[6],一生一共創作出27個劇本[7]

座右銘

「人,一輩子能做好一件事情就功德圓滿了。」[8][9][10]李國修曾在一次訪問提到,他這輩子只想做好一件事,就是「開門、上台、演戲」[11]

 *****2012.10.27
昨晚第一次知道此演員上網去找找他有點意思的年輕人

陳柏霖- 维基百科,自由的百科全书

zh.wikipedia.org/zh-hant/陳柏霖 - Cached - Translate this page
陳柏霖(英语:Bo-Lin Chen,1983年8月27日-),綽號拉麵或舞川拉麵,出身於臺灣的電影及電視劇演員。身高180cm,體重64kg,血型為B型。事業版圖除了臺灣 ...
天下500期改變 為了幸福:
演員陳柏霖 深情大仁哥,做自己最幸福
2012-06-27 天下雜誌 500期 作者:林秀姿
演員陳柏霖 深情大仁哥,做自己最幸福 圖片來源:王竹君 2012年第47屆電視金鐘獎頒獎典禮,戲劇節目男主角獎由陳柏霖拿下!分享他對暴紅之後的感動故事...
讓「李大仁」成為台灣女性心中幸福的代名詞,陳柏霖明白,擁有就是失去的開始。面對暴紅,他淡定以對;在演藝染缸中,「大仁哥」始終堅持做自己。
「我是一棵樹,樹不會變成摩天大樓,我只是多長了花跟果,」坐在新裝潢的工作室外小庭院,講話的不是「張士豪」,也不是「李大仁」,而是堅持一路走來,沒有隨著演藝圈起伏而改變的陳柏霖。
十七歲的陳柏霖,在電影《藍色大門》中,穿著高中生制服,笑容陽光燦爛,一句「我叫張士豪,天蠍座,O型,游泳隊,吉他社」,奠定他在影迷心中陽光大男孩的形象。
十年後,陳柏霖在《我可能不會愛你》連續劇裡,卻變成專情、一直默默守護女主角的李大仁,成熟穩重的形象,擄獲大批影迷的心。
「李大仁」是去年冬天帶給女影迷幸福感的關鍵字。但是,陳柏霖一點也不想被「李大仁」定型。
暴紅,就是過氣的開始
面對「李大仁」的爆紅,陳柏霖顯得很抽離。他笑著拿《我可能不會愛你》中的台詞舉例,「擁有就是失去的開始。」
「暴紅就是過氣的開始,」他說,「世界需要你時,你就紅;這個世界遺棄你,你就不紅。」所以,他把李大仁留在螢光幕前,走下舞台,還是過著宅在家裡看DVD、聽音樂,和朋友吃路邊攤的簡單日子。
對陳柏霖來說,「張士豪」才是改變他人生最大的轉捩點。
就讀景文高中時,他是屬於「內向、害羞型」的男孩子,下課後和朋友打籃球是生活中最大樂趣,從沒想過未來是什麼樣子。「張士豪」帶領他闖進演藝圈,享受到一炮而紅的滋味,也找到自己未來的方向。
《藍色大門》導演易智言曾說,「陳柏霖太聰明了,躺著都會紅。」不過,在當紅時,陳柏霖卻決定離開台灣,勇闖香港、日本和中國市場,一走就將近十年。
「對自己殘忍,才會進步,」陳柏霖說,面對不同的工作團隊,不同語言文化的挑戰,強逼他提早成熟。
「世界上很多人可以講五、六種語言,我覺得我應該沒那麼笨,沒道理做不到。」所以,儘管香港導演勸他講國語,找廣東話配音,他還是堅持每天晚上熬夜背台詞。現在廣東話、日語都沒問題,是台灣少見的「三聲帶」演員。
過去十年的時間,陳柏霖在海外市場拍片,台灣鮮少有作品。去年拍完《我可能不會愛你》紅遍台灣後,今年又拍了國片《BBS鄉民的正義》,預告片曝光後,讓觀眾又驚又喜。
陳柏霖擺脫大仁哥的深情形象,演出亦正亦邪的駭客,壞壞的表情很吸睛。多年好友兼經紀人張力透露,選拍這部講述網路霸凌和言論自由的電影,陳柏霖只拿了五分之一的片酬。
「留在底片上的東西是永恆的,」陳柏霖說,不計較片酬高低,是希望每一個作品,可以分享一些事情,從中影響觀眾,去做一點點的人生選擇跟改變。

受訪的前一晚,他重看電影《愛在黎明破曉時》。「裡面女主角說,自己常常會幻想,一個老太太在房間裡面,看著自己的臉,『我現在的此刻,就是她的回憶』。」
陳柏霖說,「我也正在為一個老先生的回憶做準備。所以,我的當下應該要做什麼事情呢?做什麼值得被回憶的事?」不被爆紅沖昏頭,他堅持,拍一部好電影,比拍一部賣座的電影重要。
「一首歌或一部電影,都是一顆種子,這顆種子也許要五十年後才會發芽,」他說,「所以我們每一個人現在正在做的、拍的,也許要二十、五十年後才會看得到影響。」
以正面能量感染他人
也因為這種想法,他自組製片公司與工作團隊。經紀人張力和陳柏霖是景文高中同學,兩人相識十餘年。張力形容,陳柏霖是有「正面能量」的人,「跟他在一起,感覺什麼事情都做得到,」張力說。
「電影的製作步驟很神聖,應該先是有好的劇本,拍出好的電影,再來想怎麼行銷,」陳柏霖感嘆,現在的電影環境反其道而行,大部份都先以市場行銷、是否賣座為導向,再來製作電影、寫劇本,「這樣一來,電影只是季節性、可替換的商品罷了。」
陳柏霖的夢想,是拍出在數十年後仍能影響、感動人的電影。他說,每個演員都在等一部好劇本、好電影,等待過程很煎熬,「人生可以不只是個棋子,而是當下棋的人。」

為了實現夢想,陳柏霖也找來數名高中好友協力,在台北的工作室裡一起工作。
「我覺得幸福就是可以做想做的事情,而不在乎得到什麼,」他看著一旁的高中好友說,「看到家人和朋友都健康快樂,自己就很幸福。」
「人生最重要的並不是成功,而是誰跟你分享這份成功,誰跟你一起見證這個歷程,」陳柏霖說。
 
很多人說演藝圈是大染缸,堅持不改變理念的陳柏霖,似乎很努力不被染上各種顏色。
「從小到大我都想改變世界,卻看到很多人長大後被世界改變,」他說,「如果能保持自己的本質不變,何嘗不是對世界的一種改變?」

Princess Diana, Elizabeth Taylor玉女/玉婆,Naomi Watts (Princess Diana biopic)



Princess Diana died tragically in a car accident in Paris on Aug. 31, 1997. Twenty years after her death, she is still remembered by many as a doting mother, fashion icon and humanitarian. Read more about her final hours: http://wapo.st/2eldfJj



-2:43

周四戴安娜王妃去世20周年的纪念日在世界各地搅起了人们的情感和回忆。
周四戴安娜王妃去世20周年的纪念日在世界各地搅起了人们的情感和回忆。 Andy Rain/European Pressphoto Agency
• 周四戴安娜王妃去世20周年的纪念日在世界各地搅起了人们的情感和回忆。
时报驻伦敦的记者检视了经过20年之后,她的影响力是如何仍通过意料不到的方式体现了出来。我们还以照片和时报的标题回顾了戴安娜的一生。




 死後1992年才有由Elizabeth Taylor 飾演的電影。
“I have been told by responsible journalists that there was more world interest in Cleopatra, which I produced, and in its stars— Elizabeth TaylorRichard Burton, and Rex Harrison—than in any event of 1962.”
—Walter Wanger from MY LIFE WITH CLEOPATRA: The Making of a Hollywood Classic by Walter Wanger
⋯⋯更多



倫敦7日訊)以已故戴安娜王妃生前事蹟為藍本的傳記片《戴安娜》(Diana),下月17日在香港公映,日前率先於倫敦萊斯特廣場舉行首映禮。扮演戴妃的澳洲女星納奧美華特斯(Naomi Watts)悉心打扮現身,以博取更高見報率,然而電影未能討好英國傳媒,近乎一面倒地給予劣評。

作為片中女主角,加上出席首映的明星卡士一般,身穿白色交叉吊帶高衩長裙的納奧美華特斯自然最搶鏡,在紅毯上大拋胸光和長腿,跟在日本版電影替她配音、當天有份亮相紅地毯的日本女星米倉涼子互相輝映。

外界對《戴安娜》製作團隊如何重演16年前戴安娜因車禍意外喪生,以及跟查理斯王儲離婚後的感情生活甚感興趣,但戴妃始終對英國人影響深遠,意義重大,要正面刻畫這些事情並不容易,因此多份英國報章都在本片首映後,刊登極尖酸刻薄的評價,像《泰晤士報》雖然讚揚納奧美已在「蠕動兼尷尬的劇本中做到最佳水準」,但還是以「糟透和擾人」給全片做總結。

影評人Peter Bradshaw更毫不留情地寫道:「可憐的戴妃,我曾猶豫使用『車子撞入戲院』這些字,但更可怕的事實是,97年那恐怖的一天在16年後,她再次嚇人地死去。」比起《泰晤士報》和《衛報》只給1分,《每日電訊報》的2分看來好一點,不過仍是在問:「到底《戴安娜》的重點是什麼?」

雖然納奧美落力配合宣傳,甚至在公開場合稱想威廉王子和哈裏王子來觀賞,但皇室普遍仍冷待該片,加上影評的攻擊,看來納奧美想憑戴妃角色挑戰奧斯卡影后的機會變得渺茫。


Princess Diana biopic panned by British critics: Naomi Watts flick called ‘atrocious’
The film about Lady Diana, the ‘People’s Princess,’ didn’t get the same royal treatment by British critics.



Reg Lancaster/Getty Images

While many critics have slammed the romantic drama, at least one positive review heralds Watts’ performance as brilliant, passionate and believable.

British critics are not happy with Naomi Watts' "Diana" biopic.
Several reviewers slammed Oliver Herschbiegel's take on the Princess of Wales' love affair with Dr. Hasnat Khan after it premiered in London on Thursday.
Several British papers have panned the flick, due out in American theaters in October.

Alex Moss/FilmMagic

Several British papers have panned the flick, due out in American theaters in October.

PHOTOS: NAOMI WATTS AS PRINCESS DIANA
It's a "cheap" and "cheerless" effort, according to the U.K.'s Mirror, while the Sunday Times ripped apart its "embarrassing" script. The Academy Award-nominated Watts, 44, is apparently a mere victim of bad writing.
Naomi Watts stars as Princess Diana in the official trailer for 'Diana' also featuring Naveen Andrews.

BeckerFilmGroup via YouTube

Naomi Watts stars as Princess Diana in the official trailer for 'Diana' also featuring Naveen Andrews.

"Even when these lines are delivered by the fragrant Naomi Watts, doing her level best with a squirmingly embarrassing script, this film is still atrocious and intrusive," the Sunday Times reviewer wrote.
RELATED: NAOMI WATTS: PRINCESS DIANA GAVE HER ‘PERMISSION’

BeckerFilmGroup via YouTube

The Hirschbiegel film was labeled ‘cheap’ and ‘cheerless’ by one critic.

The retelling of Princess Diana's romance with the heart surgeon painted a picture that "even Bridget Jones would cross the street to avoid," according to the Mirror writer, adding that the beloved late royal was rendered a "sad-sack singleton."
One stale line in the film, when Watts says "now that I have been loved, I don't feel lonely anymore," particularly irked the critics.

BeckerFilmGroup via YouTube

The film about Lady Diana, the ‘People’s Princess,’ didn’t get the same royal treatment by British critics.

RELATED: PRINCESS DIANA SLAMMED BY ROYAL RELATIVE: ‘SHE WAS REALLY SPITEFUL’
"The awful truth is that, 16 years after that terrible day in 1997, Diana has died another awful death," wrote a Guardian newspaper reviewer.

Read more: http://www.nydailynews.com/entertainment/tv-movies/princess-diana-biopic-panned-british-critics-article-1.1448107#ixzz2eHz0VxII



 *****
2011今天3/24 CNN 會有四小時的節目:
台灣通稱之為玉女/玉婆

玉婆叱吒影壇60載

自由時報 - ‎5小時之前‎
一代巨星伊莉莎白泰勒昨日病逝於洛杉磯的醫院,享年79歲。從12歲主演「玉女神駒」轟動影壇,伊莉莎白泰勒共有70部作品,直到2001年她69歲時, 都還有演出作品。她曾三度以「戰國佳人」、「朱門巧婦」、「夏日癡魂」獲得奧斯卡提名;以「青樓豔妓」與「靈慾春宵」兩度贏得 ...
Outtake from the July 14, 1947 cover of Elizabeth Taylor. According to LIFE: "Elizabeth Taylor is about the best-looking 15-year-old girl known to the public at large. Under contract with Metro-Goldwyn-Mayer in Hollywood, she made her first movie appearance in Lassie Come Home (1942) and will shortly be appearing in Cynthia and Life with Father. Elizabeth receives her education at the M-G-M studio school, keeps pet dogs, cats and chipmunks and steps out occasionally with Actor Jerome Courtland, a strapping 20, who has not yet told her whether or not he likes her. She is supposed to be in bed each night by 9 p.m. but she seldom gets there on time. (Bob Landry—The LIFE Images Collection/Getty Images) ‪#‎LIFElegends‬ ‪#‎1940s‬‪#‎ElizabethTaylor‬

Elizabeth Taylor, Lifelong Screen Star, Dies at 79

Elizabeth Taylor, the actress who dazzled generations of moviegoers with her stunning beauty and whose name was synonymous with Hollywood glamour, died Wednesday in Los Angeles. She was 79.
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Elizabeth Taylor in 1957. More Photos »
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A spokeswoman at Cedars-Sinai Medical Center said Ms. Taylor died at 1:28 a.m. Pacific time. Her publicist, Sally Morrison, said the cause was complications of congestive heart failure. Ms. Taylor had had a series of medical setbacks over the years and was hospitalized six weeks ago with heart problems.
In a world of flickering images, Elizabeth Taylor was a constant star. First appearing on screen at age 9, she grew up there, never passing through an awkward age. It was one quick leap from “National Velvet” to “A Place in the Sun” and from there to “Cleopatra,” as she was indelibly transformed from a vulnerable child actress into a voluptuous film queen.
In a career of more than 70 years and more than 50 films, she won two Academy Awards as best actress, for her performances as a call girl in “Butterfield 8” (in 1960) and as the acid-tongued Martha in “Who’s Afraid of Virginia Woolf?” (in 1966). Mike Nichols, who directed her in “Virginia Woolf,” said he considered her “one of the greatest cinema actresses.”
When Ms. Taylor was honored in 1986 by the Film Society of Lincoln Center, Vincent Canby wrote in The New York Times, “More than anyone else I can think of, Elizabeth Taylor represents the complete movie phenomenon — what movies are as an art and an industry, and what they have meant to those of us who have grown up watching them in the dark.”
Ms. Taylor’s popularity endured throughout her life, but critics were sometimes reserved in their praise of her acting. In that sense she may have been upstaged by her own striking beauty. Could anyone as lovely as Elizabeth Taylor also be talented? The answer, of course, was yes.
Given her lack of professional training, the range of her acting was surprisingly wide. She played predatory vixens and wounded victims. She was Cleopatra of the burnished barge; Tennessee Williams’s Maggie the cat; Catherine Holly, who confronted terror suddenly last summer; and Shakespeare’s Kate. Her melodramatic heroines would have been at home on soap operas.
Joseph L. Mankiewicz, who directed her in “Suddenly, Last Summer” and “Cleopatra,” remembered seeing her for the first time, in Cannes, when she was 18. “She was the most incredible vision of loveliness I have ever seen in my life,” he said. “And she was sheer innocence.”
Mr. Mankiewicz admired her professionalism. “Whatever the script called for, she played it,” he said. “The thread that goes through the whole is that of a woman who is an honest performer. Therein lies her identity.”
It was also Mr. Mankiewicz who said that for Ms. Taylor, “living life was a kind of acting,” that she lived her life “in screen time.”
Marilyn Monroe was the sex goddess, Grace Kelly the ice queen, Audrey Hepburn the eternal gamine. Ms. Taylor was beauty incarnate. As the director George Stevens said when he chose her for “A Place in the Sun,” the role called for the “beautiful girl in the yellow Cadillac convertible that every American boy, some time or other, thinks he can marry.”
There was more than a touch of Ms. Taylor herself in the roles she played. She acted with the magnet of her personality. Although she could alter her look for a part — putting on weight for Martha in “Virginia Woolf” or wearing elaborate period costumes — she was not a chameleon, assuming the coloration of a character. Instead she would bring the character closer to herself. For her, acting was “purely intuitive.” As she said, “What I try to do is to give the maximum emotional effect with the minimum of visual movement.”
Sometimes her film roles seemed to be a mirror image of her own life. More than most movie stars, she seemed to exist in the public domain, where her indiscretions were bared under a spotlight. She was pursued by paparazzi and denounced by the Vatican. But behind the seemingly scandalous behavior was a woman with a clear sense of morality: she habitually married her lovers. People watched and counted, with vicarious pleasure, as she became Elizabeth Taylor Hilton Wilding Todd Fisher Burton Burton Warner Fortensky — enough marriages to certify her career as a serial wife. Asked why she married so often, she said, in an assumed drawl: “I don’t know, honey. It sure beats the hell out of me.”
During a lifetime of emotional and physical setbacks, life-threatening illnesses and accidents, and several near-death experiences, Ms. Taylor was a survivor. “I’ve been lucky all my life,” she said in 1992, just before turning 60. “Everything was handed to me. Looks, fame, wealth, honors, love. I rarely had to fight for anything. But I’ve paid for that luck with disasters.” At 65, she said on the ABC News program “20-20”: “I’m like a living example of what people can go through and survive. I’m not like anyone. I’m me.”
Her life was played out in print: miles of newspaper and magazine articles, a galaxy of photographs and a shelf of biographies, each one painting a different portrait. “Planes, trains, everything stops for Elizabeth Taylor, but the public has no conception of who she is,” said Roddy McDowall, who was one of her earliest co-stars and a friend for life. “People who damn her wish to hell they could do what they think she does.”
There was one point of general agreement: her beauty. As cameramen noted, her face was flawlessly symmetrical; she had no bad angle, and her eyes were of the deepest violet.
One prominent and perhaps surprising dissenter about her looks was Richard Burton, who was twice her husband. The notion of his wife as “the most beautiful woman in the world is absolute nonsense,” he said.
“She has wonderful eyes,” he added, “but she has a double chin and an overdeveloped chest, and she’s rather short in the leg.”
On screen and off, Ms. Taylor was a provocative combination of the angel and the seductress. In all her incarnations she had a vibrant sensuality. But beneath it was more than a tinge of vulgarity, as in her love of ostentatious jewelry. “I know I’m vulgar,” she said, addressing her fans with typical candor, “but would you have me any other way?”
For many years she was high on the list of box-office stars. Even when her movies were unsuccessful, or, late in her career, when she acted infrequently, she retained her fame: there was only one Liz (a nickname she hated), and her celebrity increased the more she lived her life in public. There was nothing she could do about it. “The public me,” she said, “the one named Elizabeth Taylor, has become a lot of hokum and fabrication — a bunch of drivel — and I find her slightly revolting.”
Late in her life, she became known as a social activist. After the death of her friend Rock Hudson, she was a founder of the American Foundation for AIDS Research and devoted a great deal of her time to raising money for it. In 1997, she said, “I use my fame now when I want to help a cause or other people.”
Twice she had leading roles on Broadway, in a 1981 revival of Lillian Hellman’s “Little Foxes” and two years later in Noël Coward’s “Private Lives,” with Burton, at that point her former husband. In the first instance she won some critical respect; in the second she and Burton descended into self-parody. In any case, theater was not her most appropriate arena; it was as a movie star on a wide screen that she made her impact.
In a life of many surprises, one of the oddest facts is that as an infant she was considered to be an ugly duckling. Elizabeth Rosemond Taylor was born in London on Feb. 27, 1932, the second child of American parents with roots in Kansas. Her father, Francis Lenn Taylor, was an art dealer who had been transferred to London from New York; her mother, the former Sara Viola Warmbrodt, had acted in the theater in New York, under the name Sara Sothern, before she was married. (Her brother, Howard, was born in 1929.) At birth, her mother said, her daughter’s “tiny face was so tightly closed it looked as if it would never unfold.”
Elizabeth spent her early childhood in England. It was there, at 3, that she learned to ride horseback, a skill that was to help her win her first major role. Just before the beginning of World War II, her parents returned to the United States, moving to Pasadena, Calif., and later Beverly Hills, with their son and daughter.
Ms. Taylor’s mother shared with her an infatuation with the movies, and encouraged her to act. Elizabeth made her movie debut in 1942 as Gloria Twine in a forgettable film called “There’s One Born Every Minute,” with Carl Switzer, who was best known as Alfalfa, the boy with the cowlick in the “Our Gang” series. The casting director at Universal offered this capsule criticism: “The kid has nothing.”
Despite that inauspicious debut, Sam Marx, an MGM producer who had known the Taylors in England, arranged for their daughter to have a screen test for “Lassie Come Home.” She passed the audition. During the filming, in which she acted opposite Roddy McDowall, a cameraman mistakenly thought her long eyelashes were fake and asked her to take them off.
The power of her attraction was evident as early as 1944, in “National Velvet.” MGM had for many years owned the film rights to the Enid Bagnold novel on which the film was based but had had difficulty finding a child actress who could speak with an English accent and ride horses. At 12, Elizabeth Taylor met those requirements, though she was initially rejected for being too short. Stories circulated that she stretched herself in order to fill the physical dimensions of the role: Velvet Brown, a girl who was obsessed with horses and rode one to victory in the Grand National Steeplechase. “I knew if it were right for me to be Velvet,” she said, “God would make me grow.”
In one scene, her horse, which she called the Pie, seemed to be dying, and Ms. Taylor was supposed to cry — the first time she was called on to show such emotion on screen. Her co-star was Mickey Rooney, a more experienced actor, and he gave her some advice on how to summon up tears: pretend that her father was dying, that her mother had to wash clothes for a living and that her little dog had been run over. Hearing that sad scenario, Ms. Taylor burst out laughing at the absurdity. When it came time to shoot the scene, she later said: “All I thought about was the horse being very sick and that I was the little girl who owned him. And the tears came.”
Ms. Taylor gave a performance that, quite literally, made grown men and women weep, to say nothing of little girls who identified with Velvet. In his review of the film in The Nation, James Agee, otherwise a tough-minded critic, confessed that the first time he had seen Ms. Taylor on screen he had been “choked with the peculiar sort of adoration I might have felt if we were both in the same grade of primary school.”
She was, he said, “rapturously beautiful.”
“I think that she and the picture are wonderful,” he added, “and I hardly know or care whether she can act or not.”
The movie made her a star. Decades later, she said “National Velvet” was still “the most exciting film” she had ever made. But there was a drawback. To do the movie, she had to sign a long-term contract with MGM. As she said, she “became their chattel until I did ‘Cleopatra.’ ”
At first she played typical teenagers (in “Life With Father,” “A Date With Judy” and “Little Women”). At 16 she was “an emotional child inside a woman’s body,” she later said. But in contrast to other child actresses, she made an easy transition to adult roles. In 1950, she played Robert Taylor’s wife in “Conspirator.” The same year, she was in Vincente Minnelli’s “Father of the Bride,” with Spencer Tracy. And, life imitating art, she became a bride herself in 1950, marrying the hotel heir Conrad N. Hilton Jr. After an unhappy nine months, she divorced him and then married the British actor Michael Wilding, who was 20 years older than she.
By her own estimation, she “whistled and hummed” her way through her early films. But that changed in 1951, when she made “A Place in the Sun,” playing her prototypical role as a seemingly unattainable romantic vision. The film, she said, was “the first time I ever considered acting when I was young.”
In the film, she is a wealthy young woman of social position who is the catalyst for Montgomery Clift’s American tragedy. To the astonishment of skeptics, she held her own with Clift and Shelley Winters.
“A Place in the Sun” was followed by “Ivanhoe,” “Beau Brummel” and “The Last Time I Saw Paris.” Then she made two wide-screen epics back to back, “Giant” (with Rock Hudson and James Dean, who died after finishing his scenes) and “Raintree County” (with Clift, who became one of her closest friends). Her role in the Civil War-era drama “Raintree,” as Susanna Drake, a Southern belle who marries an Indiana abolitionist, earned her an Oscar nomination for best actress in 1957. It was the first of four consecutive nominations, the last of which resulted in a win for “Butterfield 8.” Ms. Taylor was filming “Cat on a Hot Tin Roof” with Paul Newman in 1958 when her third husband, the flamboyant impresario Mike Todd, was killed along with three others in New Mexico in the crash of a small plane called the Lucky Liz. They had been married little more than a year and had a newly born daughter, Liza.
A bereaved Ms. Taylor was consoled by her husband’s best friend, the singer Eddie Fisher, who in a storybook romance was married to the actress Debbie Reynolds, one of America’s sweethearts. Soon a shocked nation learned that Debbie and Eddie were over and that Mr. Fisher was marrying Ms. Taylor, continuing what turned out to be a chain of marital events. (In 1993, at an AIDS benefit, Ms. Reynolds appeared on stage 20 minutes before Ms. Taylor and said, to waves of laughter, “Well, here I am, sharing something else with Elizabeth.”) Mr. Fisher died in 2010.
After Ms. Taylor finished “Cat on a Hot Tin Roof,” MGM demanded that she fulfill her contract and act in a film version of John O’Hara’s “Butterfield 8” (1960). Her performance as the call girl Gloria Wandrous brought her an Oscar as best actress.
The award was bestowed less than six weeks after she was forced to undergo an emergency tracheotomy in a London hospital after being overcome by pneumonia and losing consciousness, one of several times tabloid headlines proclaimed her close to death. She and others felt that the Oscar was given to her more out of sympathy for her illness than in appreciation of her acting.
Next was “Cleopatra,” in which she was the first actress to be paid a million-dollar salary. Working overtime, she eventually made more than twice that figure. The movie was made in Rome and cost so much ($40 million, a record for its time) and took so long that it almost bankrupted 20th Century Fox and caused an irrevocable rift between the producer Darryl F. Zanuck and the director Mr. Mankiewicz.
When “Cleopatra” was finally released in 1963, it was a disappointment. But the film became legendary for the off-screen affair of its stars, Ms. Taylor, then married to Mr. Fisher, and Richard Burton, then married to Sybil Williams.
Taylor and Burton: it seemed like a meeting, or a collision, of opposites, the most famous film star in the world and the man many believed to be the finest classical actor of his generation. What they had in common was an extraordinary passion for each other and for living life to the fullest. Their romantic roller coaster was closely chronicled by the international press, which began referring to the couple as an entity called “Dickenliz.”
After finishing the film, Ms. Taylor went with Burton to Toronto, where he was on a pre-Broadway tour with “Hamlet.” In Toronto, and later in New York, the two were at the height of their megastardom, accompanied by a retinue as large as that of the Sultan of Brunei and besieged by fans, who turned every public appearance into a mob scene. In New York, as many as 5,000 people gathered outside the Lunt-Fontanne Theater on West 46th Street after every performance of “Hamlet,” hoping Ms. Taylor was backstage and eager to see the couple emerge.
They were married in 1964, and Ms. Taylor tried without success to keep herself in the background. “I don’t think of myself as Taylor,” she said, ingenuously. “I much prefer being Burton.” She told her husband, “If I get fat enough, they won’t ask me to do any more films.” Although she put on weight, she continued to act.
The life of Dickenliz was marked by excess. They maintained mansions in various countries, rented entire floors of hotels and spent lavishly on cars, art and jewelry, including the 69.42-carat Cartier diamond and the 33.19-carat Krupp diamond. (In 2002, Ms. Taylor published “My Love Affair With Jewelry,” a coffee-table memoir as told through the prism of her world-class gems.)
Since childhood, Ms. Taylor had been surrounded by domestic animals. When she was not allowed to take her dogs with her to London because of a quarantine rule, she leased a yacht for them at a reported cost of $20,000 and moored it on the Thames.
After “Cleopatra,” the couple united in a film partnership that gave the public glossy romances like “The V.I.P.’s” and “The Sandpiper” and one powerful drama about marital destructiveness, the film version of Edward Albee’s play “Who’s Afraid of Virginia Woolf?” As Martha, the faculty wife, a character 20 years older than she was, Ms. Taylor gained 20 pounds and made herself look dowdy. After she received her second Academy Award for the performance, Burton, who played Martha’s husband, George, offered a wry response: “She won an Oscar for it, he said, bitterly, and I didn’t, he said, equally bitterly.”
The Burtons also acted together in “Doctor Faustus” (1968), in which she was a conjured-up Helen of Troy; “The Comedians” (1967), with Ms. Taylor as an adulterous ambassador’s wife in Haiti; Franco Zeffirelli’s film version of “The Taming of the Shrew” (1967), with Ms. Taylor as the volatile Katharina to Burton’s wife-hunting Petrucchio; “Boom!” (1968), an adaptation of the Tennessee Williams play “The Milk Train Doesn’t Stop Here Anymore,” with Ms. Taylor as a rich, ailing woman living on an island; “Under Milk Wood” (1972), an adaptation of the Dylan Thomas play; and “Hammersmith Is Out” (1972), a retelling of the Faust legend in which she played a diner waitress.
On her own, Ms. Taylor was an adulterous Army major’s wife in “Reflections in a Golden Eye” (1967), with Marlon Brando; a fading prostitute in “Secret Ceremony” (1968); an aging Las Vegas chorus girl in “The Only Game in Town” (1970), with Warren Beatty; a rich widow who witnesses a murder in “Night Watch” (1973); and a wife who tries to save her marriage through plastic surgery in “Ash Wednesday” (1973), among other films.
After 10 high-living and often torrid years, the Burtons were divorced in 1974, remarried 16 months later (in a mud-hut village in Botswana), separated again the following February and granted a divorce in Haiti in July 1976.
Burton died of a cerebral hemorrhage at 58 in 1984 in Switzerland. Thirteen years later, Ms. Taylor said that Todd and Burton were the loves of her life, and that if Burton had lived they might have married a third time. For years after his death, she told The Times in 2000, she couldn’t watch when the films they had made were shown on television.
After her second divorce from Burton, she wed John W. Warner, a Virginia politician, and was active in his winning campaign for the United States Senate. As she had done with Burton, she tried to subordinate her career to that of her husband. For five years she acted as a Washington political wife and became, she said, “the loneliest person in the world.” Overcome by depression, she checked herself into the Betty Ford Center in Rancho Mirage, Calif. She later admitted that she had been treated as “a drunk and a junkie.”
In addition to alcohol and drugs, she had a problem with overeating, and it became the butt of frequent jokes by the comedian Joan Rivers (“She has more chins than a Chinese phone book”). Ms. Rivers later apologized to Ms. Taylor through a friend, though Ms. Taylor shrugged off the insults, saying they did not “get me where I live.” Ms. Rivers said, “From then on, I was crazy about her.” Always one to admit to her mistakes and misfortunes, Ms. Taylor wrote a book about her weight problems, “Elizabeth Takes Off: On Weight Gain, Weight Loss, Self-Image, and Self-Esteem” (1988).
When she returned to the Ford center for further treatment, she met Larry Fortensky, a construction worker, who was also a patient. In a wedding spectacular in 1991, she and Mr. Fortensky were married at Michael Jackson’s Neverland Valley Ranch in Santa Ynez, Calif., with celebrated guests sharing the grounds with Mr. Jackson’s giraffes, zebras and llamas. Although the press was not invited to the ceremony, a photographer parachuted in and narrowly missed landing on Gregory Peck. Five years later, the Fortenskys were divorced. Ms. Taylor, a longtime friend of Mr. Jackson’s, was a visible presence at his funeral in 2009.
Through the 1980s and ’90s, Ms. Taylor acted in movies sporadically, did “The Little Foxes” and “Private Lives” on Broadway, and appeared on television as Louella Parsons in “Malice in Wonderland” in 1985 and as the aging actress Alexandra Del Lago in Tennessee Williams’s “Sweet Bird of Youth” in 1989.
In 1994 she played Fred Flintstone’s mother-in-law in “The Flintstones,” and in 1996 she made consecutive tag-team appearances on four CBS situation comedies. In 2001, she and Shirley MacLaine, Joan Collins and Debbie Reynolds made fun of their own images in “These Old Broads,” a tepidly received television movie — written by Carrie Fisher, the daughter of Ms. Reynolds and Eddie Fisher — about aging movie stars (with Ms. Taylor, getting little screen time, as their caftan-wearing agent) who despise one another but reunite for a television special.
Ms. Taylor was often seen as a caricature of herself, “full of no-nonsense shamelessness,” as Margo Jefferson wrote in The New York Times in 1998, adding, “Whether it’s about how she ages or what she wears, she has, bless her heart, made the principles of good and bad taste equally meaningless.”
Increasingly, Ms. Taylor divided her time between her charitable works (including various Israeli causes) and commercial enterprises, like a line of perfumes marketed under her name. She helped raise more than $100 million to fight AIDS.In February 1997, she celebrated her 65th birthday at a party that was a benefit for AIDS research. At the party, which was later shown on television, Madonna ended the festivities by announcing that Ms. Taylor had always been her idol. After the party, Ms. Taylor entered Cedars-Sinai Medical Center in Los Angeles for an operation on a brain tumor.
There were other medical setbacks. In recent years she was forced to use a wheelchair because of osteoporosis/scoliosis. In October 2009 she underwent surgery to address her heart problems. She told the press that surgeons had tried a new procedure in which a clip was inserted to fix a leaky heart valve. Earlier this year she refused to undergo back surgery, saying she had already had a half-dozen operations and wasn’t up for another. In February she entered Cedars-Sinai for the final time suffering symptoms related to congestive heart failure.
Her survivors include two sons, Michael and Christopher, from her marriage to Michael Wilding; her daughter Liza Todd, from her marriage to Michael Todd; another daughter, Maria Burton, whom Ms. Taylor and Burton adopted in 1964; 10 grandchildren, and four great-grandchildren.
In 2002, Ms. Taylor was among five people to receive Kennedy Center Honors in the performing arts.
Married or single, sick or healthy, on screen or off, Ms. Taylor never lost her appetite for experience. Late in life, when she had one of many offers to write her memoirs, she refused, saying with characteristic panache, “Hell no, I’m still living my memoirs.”
Mel Gussow, the principal writer of this article, died in 2005. William McDonald and William Grimes contributed updated reporting.
This article has been revised to reflect the following correction:
Correction: March 23, 2011
An earlier version misstated the first name of an actor, best known as Alfalfa, who appeared with Ms. Taylor in her first film, "There's One Born Every Minute." He was Carl Switzer, not Alfred.

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