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 51
... attitudes toward this monumental work of Stanislavski's . Recently , I have tried to think of my own attitude toward it . I find it is the same as what I feel toward any technique I have studied . There are two aspects to the way ...
... attitudes toward this monumental work of Stanislavski's . Recently , I have tried to think of my own attitude toward it . I find it is the same as what I feel toward any technique I have studied . There are two aspects to the way ...
Page 56
... attitude by trying always to ex- amine the subject undogmatically . Now there was a distinct change in attitude toward the Method in 1934 when my Group Theatre friends came back with the report from Stanislavski . That change had to do ...
... attitude by trying always to ex- amine the subject undogmatically . Now there was a distinct change in attitude toward the Method in 1934 when my Group Theatre friends came back with the report from Stanislavski . That change had to do ...
Page 128
... attitude towards tempo . Having fixed this or that rate of speed they stick to it throughout a whole reading , never realizing that the tempo must go on living , vibrating , to a certain degree changing , but not remain frozen at the ...
... attitude towards tempo . Having fixed this or that rate of speed they stick to it throughout a whole reading , never realizing that the tempo must go on living , vibrating , to a certain degree changing , but not remain frozen at the ...
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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 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