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 25
... dance notation with which they ances , etc. They don't say if you foll be a dancer . What is put down are t to be danced . It is a means to an e Well , let's tackle the Stanislavski in the form of a pipe organ . Straight across.
... dance notation with which they ances , etc. They don't say if you foll be a dancer . What is put down are t to be danced . It is a means to an e Well , let's tackle the Stanislavski in the form of a pipe organ . Straight across.
Page 46
... Dancing . " Of 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 ...
... Dancing . " Of 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 ...
Page 108
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought ... dance about the fisher - girl , a peasant number , she behaved with all the dignity of a queen . In the same Casals ...
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought ... dance about the fisher - girl , a peasant number , she behaved with all the dignity of a queen . In the same Casals ...
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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