quality:corruption, linguistic:paraphrasing, structural:summarization
Early career

Guinness first worked writing advertising copy. His first job in the theatre was on his 20th birthday (2 April 1934), while he was a student at the Fay Compton Studio of Dramatic Art, in the play Libel, which opened at the old King's Theatre, Hammersmith, and then transferred to the West End 's Playhouse, where his status was raised from a walk-on to understudying two lines, and his salary increased to £1 a week. He appeared at the New Theatre in 1936 at the age of 22, playing the role of Osric in John Gielgud 's successful production of Hamlet. Also in 1936, Guinness signed on with the Old Vic, where he was cast in a series of classic roles. In the later 1930s, he took classes at the London Theatre Studio. In 1939, he took over for Michael Redgrave as Charleston in a road-show production of Robert Ardrey 's Thunder Rock. At the Old Vic, Guinness worked with many actors and actresses who became his friends and frequent co-stars in the future, including Gielgud, Ralph Richardson, Peggy Ashcroft, Anthony Quayle, and Jack Hawkins. An early influence was film star Stan Laurel, whom Guinness admired.

Guinness continued playing Shakespearean roles throughout his career. In 1937, he played Aumerle in Richard II and Lorenzo in The Merchant of Venice under the direction of John Gielgud. He starred in a 1938 production of Hamlet which won him acclaim on both sides of the Atlantic. He also appeared as Romeo in a production of Romeo and Juliet (1939), Malvolio in Twelfth Night, and as Exeter in Henry V in 1937, both opposite Laurence Olivier, and Ferdinand in The Tempest, opposite Gielgud as Prospero. In 1939, he adapted Charles Dickens 's novel Great Expectations for the stage, playing Herbert Pocket. The play was a success. One of its viewers was a young British film editor, David Lean, who later had Guinness reprise his role in Lean's 1946 film adaptation of the play.