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
Results 1-3 of 12
Page 51
... create on the stage , and the conscious study in workshops or in learning a part . This is as true for the director as for the actor . When a director prepares a production , analyzes the script , breaks the play down into its component ...
... create on the stage , and the conscious study in workshops or in learning a part . This is as true for the director as for the actor . When a director prepares a production , analyzes the script , breaks the play down into its component ...
Page 116
... create an artistic pattern . I give this example from Teahouse to show that there is nothing incompatible with a sense of form in the ideas in- herent in the principles of Stanislavski . Quite the contrary . They can , and should , be ...
... create an artistic pattern . I give this example from Teahouse to show that there is nothing incompatible with a sense of form in the ideas in- herent in the principles of Stanislavski . Quite the contrary . They can , and should , be ...
Page 158
... created not so much by the words themselves as by what lies between the lines , but in Shakespeare it is created pri- marily and entirely by the actual words . S : Yes , but one must be able to 158.
... created not so much by the words themselves as by what lies between the lines , but in Shakespeare it is created pri- marily and entirely by the actual words . S : Yes , but one must be able to 158.
Other editions - View all
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