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 34
... on the stage all e . That girl isn't your sister is not really a Picasso- he prop man put together , gination all the time on the nings , but about ideas too . situations and believe in cant and practical tool of W SO a ev ου at tha tin 2 ...
... on the stage all e . That girl isn't your sister is not really a Picasso- he prop man put together , gination all the time on the nings , but about ideas too . situations and believe in cant and practical tool of W SO a ev ου at tha tin 2 ...
Page 39
... fetche find the way to believe in them . 7 about them we can truly believe imagination . Number Twenty is " The excha he means the connection betwee and a group , or an actor and ar scene . Even an actor who has no interest in.
... fetche find the way to believe in them . 7 about them we can truly believe imagination . Number Twenty is " The excha he means the connection betwee and a group , or an actor and ar scene . Even an actor who has no interest in.
Page 52
... Believe me , I felt it was no good without that . ( It reminds me of Boris Aronson , the designer , who once said at my house in the country when he saw a beau- tiful tree standing near a large rock , “ Look at that tree— various ...
... Believe me , I felt it was no good without that . ( It reminds me of Boris Aronson , the designer , who once said at my house in the country when he saw a beau- tiful tree standing near a large rock , “ Look at that tree— various ...
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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