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 38
... 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 . It's ...
... 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 . It's ...
Page 54
... Stanislavski was always searching , always changing , and he said , “ It is not my system . I did not invent any- thing . 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 any- thing . I am simply trying to put down something which is based on the laws of creation . " He religiously studied those ...
Page 152
... Stanislavski and Gordon Craig . Craig , as you know , was invited to Moscow to design the Moscow Art Theatre production of Hamlet . Stanislavski had pin- pointed the problem of poetic drama we have discussed by saying to the actors ...
... Stanislavski and Gordon Craig . Craig , as you know , was invited to Moscow to design the Moscow Art Theatre production of Hamlet . Stanislavski had pin- pointed the problem of poetic drama we have discussed by saying to the actors ...
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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