Method--or Madness?: With an Introd. by Harold Clurman, Volume 10A dynamic, inventive and articulate stage director explores in practical, down-to-cases language "The Method: " what it is and is not; the nonsense, the misconceptions, the myths that have sprung up and flourished around it; its development as a workable theory of stage technique and its application to all types of theatrical production. |
From inside the book
Results 1-4 of 4
Page 41
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 54
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 56
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 101
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
The Method and Poetic Theatre | 123 |
Rehearsal Procedureand Summa | 139 |
Other editions - View all
Common terms and phrases
acting Actor Prepares actress actual attitude audience beautiful Ben-Ami Brigadoon Building a Character called chart costume create curtain dance dancer director Duse elements emotion everything example feeling FĂ©lia Litvinne felt fetish Gene Lyons girl give going Group Theatre Hamlet happened Harold Clurman hear idea imagination important inner intention John Barrymore Laurette Taylor LECTURE Lewis listen look means ment Method actors METHOD-OR MADNESS Michael Chekhov Moissi mood Moscow Art Theatre moved movement Nina Koshetz Ophelia Othello Pauline Viardot performance person phony poetic theatre problem production psychological realistic rehearsal remember rhythm Sakini Salvini scene sense Shakespeare singing speaking specific speech stage Stanislavski Method Stanislavski system style talk technical technique tell tempo tempo-rhythm theatrical thing tion Tommaso Salvini true truth understand voice walking week whole play words