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
... Salvini toward the end of his career in 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 ...
... Salvini toward the end of his career in 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 ...
Page 6
... Salvini , but also by the remarkably clear - cut expressive tempo - rhythm of his speech . " Now , in a way , conflicting opinion is very natural in an art , as there are no absolute answers . It should be fun to have these arguments ...
... Salvini , but also by the remarkably clear - cut expressive tempo - rhythm of his speech . " Now , in a way , conflicting opinion is very natural in an art , as there are no absolute answers . It should be fun to have these arguments ...
Page 14
... directed . Now the Stanislavski method dates from the end of the last century when Salvini and other great acting stars visited Russia . Stanislavski had been bothered about his the Group Theatre . That theatre v and its actors 14.
... directed . Now the Stanislavski method dates from the end of the last century when Salvini and other great acting stars visited Russia . Stanislavski had been bothered about his the Group Theatre . That theatre v and its actors 14.
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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