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 46
... course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But even failing anything as specific as that ( you don't have to become an accomplished ...
... course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But even failing anything as specific as that ( you don't have to become an accomplished ...
Page 141
... course this may come from many things that we know about : such as the whole busi- ness of getting the part , of making an impression on the first day , and of not being thrown out after the probation- ary five days ; but we can't take ...
... course this may come from many things that we know about : such as the whole busi- ness of getting the part , of making an impression on the first day , and of not being thrown out after the probation- ary five days ; but we can't take ...
Page 150
... course if he does it repeatedly , you have to point it out to him . But the chief thing is to give the important notes such as where the actor goes off from the main idea of the scene . If he can set himself right again on that you very ...
... course if he does it repeatedly , you have to point it out to him . But the chief thing is to give the important notes such as where the actor goes off from the main idea of the scene . If he can set himself right again on that you very ...
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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