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 24
... chart and try to define , as completely as pos- sible , each term . Before I start I would like to ask you please to remember this : I am not teaching the Method here by doing this— it cannot be done that way . I am simply going to read ...
... chart and try to define , as completely as pos- sible , each term . Before I start I would like to ask you please to remember this : I am not teaching the Method here by doing this— it cannot be done that way . I am simply going to read ...
Page 26
... chart dates from 1934. You'll find , in An Actor Prepares , for example , that " Action " is called " Objective , " etc. ) Eleven is " Action itself ; " Twelve- " Magic If ; " Thirteen- " Given circumstances ; " Fourteen- " Beats ...
... chart dates from 1934. You'll find , in An Actor Prepares , for example , that " Action " is called " Objective , " etc. ) Eleven is " Action itself ; " Twelve- " Magic If ; " Thirteen- " Given circumstances ; " Fourteen- " Beats ...
Page 48
... chart itself . In An Actor Prepares , " spine " is referred to as the " Super- Objective . " I think what Mr. Stanislavski meant by the " spine " of the play was something very much akin to what is called the " theme " -the underlying ...
... chart itself . In An Actor Prepares , " spine " is referred to as the " Super- Objective . " I think what Mr. Stanislavski meant by the " spine " of the play was something very much akin to what is called the " theme " -the underlying ...
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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