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 1-3 of 11
Page 4
... Shakespeare and frowned upon by good English actors . [ Here I left the tall stool I used as a perch and , crossing ... Shakespearean actor . Yes , everything is documented tonight ! A great deal of the time one hears that Method actors ...
... Shakespeare and frowned upon by good English actors . [ Here I left the tall stool I used as a perch and , crossing ... Shakespearean actor . Yes , everything is documented tonight ! A great deal of the time one hears that Method actors ...
Page 99
... Shakespeare's . I think we can safely reject that first gro their empty , " beautiful " acting in the name ty and the second group who do all their trained acting in the name of truth . This is t I am trying to bring into focus ...
... Shakespeare's . I think we can safely reject that first gro their empty , " beautiful " acting in the name ty and the second group who do all their trained acting in the name of truth . This is t I am trying to bring into focus ...
Page 158
... Shakespeare has no feelings or moods which should be read between the lines . He is too clear . In contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare ...
... Shakespeare has no feelings or moods which should be read between the lines . He is too clear . In contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare ...
Other editions - View all
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