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 84
... beautiful voice ? Is it a pretty sound with good diction and emptiness inside ? No. I think Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production ...
... beautiful voice ? Is it a pretty sound with good diction and emptiness inside ? No. I think Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production ...
Page 99
... beautiful , " poss sympathy - begging , exterior acting and the lly - experienced , unadjusted to artistic interior - feeling , bottom - scratching Hamlet mance of The Merchant of Venice in which own actress playing Portia tried to make ...
... beautiful , " poss sympathy - begging , exterior acting and the lly - experienced , unadjusted to artistic interior - feeling , bottom - scratching Hamlet mance of The Merchant of Venice in which own actress playing Portia tried to make ...
Page 119
... beautiful on the stage is what emanates from a person who has a beautiful qual- ity , understanding , charm , wit , mind , feeling . You can put the prettiest person in the world on the stage and if she doesn't have some of those ...
... beautiful on the stage is what emanates from a person who has a beautiful qual- ity , understanding , charm , wit , mind , feeling . You can put the prettiest person in the world on the stage and if she doesn't have some of those ...
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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