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 54
... Michael Chekhov , for instance , who visited the Group actors during the thirties when his company was here . We had a party for him and he came and spoke with us . We had heard of Stanislavski's remark to Gordon Craig , " If you want ...
... Michael Chekhov , for instance , who visited the Group actors during the thirties when his company was here . We had a party for him and he came and spoke with us . We had heard of Stanislavski's remark to Gordon Craig , " If you want ...
Page 56
... Chekhov was talking , his hands started to dig into the man's heart . Suddenly one got this terrific image of what ... Michael Chekhov embodied the " Complete Internal " plus the " Complete External " outlined in the Method chart , yet ...
... Chekhov was talking , his hands started to dig into the man's heart . Suddenly one got this terrific image of what ... Michael Chekhov embodied the " Complete Internal " plus the " Complete External " outlined in the Method chart , yet ...
Page 102
... Michael Chekhov was doing was employing " psychological ges- ture . ” In the second case you can maintain that Duse was " playing her objective ” which was to fight off those ghosts of the past . You may feel that Grasso was " playing ...
... Michael Chekhov was doing was employing " psychological ges- ture . ” In the second case you can maintain that Duse was " playing her objective ” which was to fight off those ghosts of the past . You may feel that Grasso was " playing ...
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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 Félia 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