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 52
... complete kind of circular line up toward the two central figures . The actor did it when he was placed there but every time we'd go through the scene , and he'd gotten up to say his few lines , he'd never return to his original position ...
... complete kind of circular line up toward the two central figures . The actor did it when he was placed there but every time we'd go through the scene , and he'd gotten up to say his few lines , he'd never return to his original position ...
Page 56
... Complete Internal " plus the " Complete External " outlined in the Method chart , yet he was reticent to call himself a Stanislavski authority . We should emulate this attitude by trying always to ex- amine the subject undogmatically ...
... Complete Internal " plus the " Complete External " outlined in the Method chart , yet he was reticent to call himself a Stanislavski authority . We should emulate this attitude by trying always to ex- amine the subject undogmatically ...
Page 117
... complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she had to accomplish in each scene was eminently clear to her . Now ...
... complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she had to accomplish in each scene was eminently clear to her . Now ...
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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