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Sir John is probably touched with some sort of genius, but genius does not normally stimulate me to speculation, since it cannot be held in the hand any more than quicksilver. More important than Gielgud's genius are the years of work and thought which drape about his shoulders almost visibly. He is a lifetime of experience and of practice. On the quieter, less electric days, he sits behind a rehearsal table and interrupts the staging of of a scene with a murmured apology. He then removes his spectacles and rubs his reddened eyes. Perhaps he thinks for a moment. The silence is taut. Rarely does anyone move or speak. He then delivers himself of no more than a sentence or two, but these brief remarks are cornucopias filled with forty years of reading, studying, considering and analysing Shakespearean verse. The words are tightly packed, but Gielgud knows more than what can be gleaned from even the most serious reading, playgoing, and analysis. He remembers, bone-wisely, all the forty-plus years of playing Shakespearean roles; of directing his fellow actors in those; of observing Ralph Richardson rehearsing and playing this part, Laurence Olivier that one; of guiding or acting with... Peggy Ashcroft... Sybil Thorndike... Alec Guinness... Paul Scofield... Richard Burton... on through every degree of accomplishment and competence.
At the centre of him there sits a firmness, a certainty. Indeed he is so fundamentally assured that he can admit the most serious doubts and confusions. At times, after delivering himself of what would seem a total idea, he will smile his Gioconda smile and say, 'Of course, you yourself may find a better way.' One might reasonably suspect the words to be disingenuous, but it is an attitude which can work psychic wonders on an actor - most especially a cagey one. Gielgud disarms the actor of his self-protective weapons. He does it by not pushing to hard. He combines an unspoiled intuition with a lifetime of learning. The feel of his rehearsal is most ingratiating... and persuasive.
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