Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 36
Stanislavski tried to work this out so that it can be used as material by the creative actor . Of course a great deal of the nonsense that used to be spoken about the Group Theatre in the thirties came from this particular item .
Stanislavski tried to work this out so that it can be used as material by the creative actor . Of course a great deal of the nonsense that used to be spoken about the Group Theatre in the thirties came from this particular item .
Page 54
Stanislavski was always searching , always changing , and he said , “ It is not my system . I did not invent anything . I am simply trying to put down something which is based on the laws of creation . ” He religiously studied those ...
Stanislavski was always searching , always changing , and he said , “ It is not my system . I did not invent anything . I am simply trying to put down something which is based on the laws of creation . ” He religiously studied those ...
Page 152
This remarkable document is a conversation in 1909 between Stanislavski and Gordon Craig . Craig , as you know , was invited to Moscow to design the Moscow Art Theatre production of Hamlet . Stanislavski had pinpointed the problem of ...
This remarkable document is a conversation in 1909 between Stanislavski and Gordon Craig . Craig , as you know , was invited to Moscow to design the Moscow Art Theatre production of Hamlet . Stanislavski had pinpointed the problem of ...
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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Common terms and phrases
able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technical technique tell theatre theatrical thing thought tion true truth understand voice walking week whole