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 5
... Othello , said that in certain scenes he felt Salvini was the greatest speaker he had ever heard . Parenthetically , it is interesting , knowing Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt ...
... Othello , said that in certain scenes he felt Salvini was the greatest speaker he had ever heard . Parenthetically , it is interesting , knowing Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt ...
Page 48
... Othello : blood , blood ! " and another in Tɩ volio says , " I'll be revenged on t They are both in the mood of veng of the same calibre . In the first mood of the whole play is one of f " Long - distance mood " of the secor the title ...
... Othello : blood , blood ! " and another in Tɩ volio says , " I'll be revenged on t They are both in the mood of veng of the same calibre . In the first mood of the whole play is one of f " Long - distance mood " of the secor the title ...
Page 70
... Othello when it was published in 1949. After Iago tells Othello he would like to be Cassio's undertaker , Othello says , " Excellent good . " But in his director's book , next to that line , did the Master write , " to exult in the ...
... Othello when it was published in 1949. After Iago tells Othello he would like to be Cassio's undertaker , Othello says , " Excellent good . " But in his director's book , next to that line , did the Master write , " to exult in the ...
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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