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
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Page 32
... actual knowl- edge of what it felt like to put a bullet through his head , he said to himself , " What would it be like ? What would the nature of it be ? Well , it would be as if— ” and he was off to the races . As a director I ...
... actual knowl- edge of what it felt like to put a bullet through his head , he said to himself , " What would it be like ? What would the nature of it be ? Well , it would be as if— ” and he was off to the races . As a director I ...
Page 46
... actual knowledge of body expres- siveness . Number Thirty - five is " Dancing . " Of course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But ...
... actual knowledge of body expres- siveness . Number Thirty - five is " Dancing . " Of course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But ...
Page 148
... actual props ) , create for yourself all of the appurtenances of the stage . If you have to look out of a window , find out where it is going to be and really look out of the imaginary one . When the window finally is actually there ...
... actual props ) , create for yourself all of the appurtenances of the stage . If you have to look out of a window , find out where it is going to be and really look out of the imaginary one . When the window finally is actually 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