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. |
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Page 24
... master spent a lifetime on . It is , however , the only way that I can try to define correctly for you his terms that one con- tinuously hears bandied about ; also , it is the only way I can point out to you the presence of certain ...
... master spent a lifetime on . It is , however , the only way that I can try to define correctly for you his terms that one con- tinuously hears bandied about ; also , it is the only way I can point out to you the presence of certain ...
Page 72
... Master proud . Every time one has a discussion on this subject , the name of Laurette Taylor comes up ; she is admired and pointed to by adherents of the Stanislavski system . I was fortunate enough to have spent some time with her ...
... Master proud . Every time one has a discussion on this subject , the name of Laurette Taylor comes up ; she is admired and pointed to by adherents of the Stanislavski system . I was fortunate enough to have spent some time with her ...
Page 162
... masters are often inclined to be more dogmatic than the masters themselves . While Stanislavski was very reluctant to put down his findings in any permanent form , hesitating for a long time , and only agreeing under great persuasion ...
... masters are often inclined to be more dogmatic than the masters themselves . While Stanislavski was very reluctant to put down his findings in any permanent form , hesitating for a long time , and only agreeing under great persuasion ...
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Common terms and phrases
accent acting Actor or artist Actor Prepares actress actual attitude audience beautiful Ben-Ami Brigadoon Building a Character called chart costume course create dance dancer director Duse elements emotion everything example FĂ©lia Litvinne felt fetish Gene Lyons girl give going Group Theatre Hamlet happen hear idea imagination inner intentions Jeanne Eagels John Barrymore Laurette Taylor LECTURE Lewis listen look mean ment Method actors Michael Chekhov Moissi mood Moscow Art Theatre moved movement naturally Nina Koshetz Ophelia Pauline Viardot pauses performance person phony poetic theatre possible problem production props rehearsal remember rhythm Salvini scene sense of truth Shakespeare singing speaking specific speech spine stage Stanislavski Stanislavski system started studied style talk technique tell tempo tempo-rhythm theatrical there's thing tion Tommaso Salvini tonight trying understand voice walked week whole play words