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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... acting - good acting — and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the theatre depends on the nature of the play presented , the production ideas and tempera ...
... acting - good acting — and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the theatre depends on the nature of the play presented , the production ideas and tempera ...
Page 9
... Actor or artist ? Does the manner in which various practitioners work on the Method aim too often at training certain limited specific elements of acting rather than at developing good artists ? In this section I will also discuss acting ...
... Actor or artist ? Does the manner in which various practitioners work on the Method aim too often at training certain limited specific elements of acting rather than at developing good artists ? In this section I will also discuss acting ...
Page 87
... acting . If you remember , when I promised in the first talk to get to this point , I said I felt there were more ... acting . What started his study was the posturing and false imitat- ing he saw in the actors of his day ; he felt there ...
... acting . If you remember , when I promised in the first talk to get to this point , I said I felt there were more ... acting . What started his study was the posturing and false imitat- ing he saw in the actors of his day ; he felt there ...
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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