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 28
... character alone , because that is only part of it . We know people with fairly poor characters who are fine actors , and we know people of splendid char- acter who can't act at all . But I think what he probably means is that when you ...
... character alone , because that is only part of it . We know people with fairly poor characters who are fine actors , and we know people of splendid char- acter who can't act at all . But I think what he probably means is that when you ...
Page 52
... characters closer or further away from David and Johnny , somebody turning away from them , but listen- ing - you know ... character to lie on the ground , lean forward on one hand , turn up towards Johnny to listen , and curve his right ...
... characters closer or further away from David and Johnny , somebody turning away from them , but listen- ing - you know ... character to lie on the ground , lean forward on one hand , turn up towards Johnny to listen , and curve his right ...
Page 92
... Character ? ) Why ? I keep thinking about it all the time because I've been reading to you out of that second book for several weeks now and it denies everything that people complain about in the Method . Maybe the publication dates of ...
... Character ? ) Why ? I keep thinking about it all the time because I've been reading to you out of that second book for several weeks now and it denies everything that people complain about in the Method . Maybe the publication dates of ...
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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