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 19
... dancer is performing o laborious , technical , bar - work is forg express some idea in movement . If , leap , he said to himself , " Now here i shift my balance " instead of " knowin might just break a leg for his pains ! do we actors ...
... dancer is performing o laborious , technical , bar - work is forg express some idea in movement . If , leap , he said to himself , " Now here i shift my balance " instead of " knowin might just break a leg for his pains ! do we actors ...
Page 78
... of the play , and to all the other actors present , and not only to that one scene and that one person that you have as your partner in the scene class . A dancer is not that anything over a whisper I feeling ! What about 78.
... of the play , and to all the other actors present , and not only to that one scene and that one person that you have as your partner in the scene class . A dancer is not that anything over a whisper I feeling ! What about 78.
Page 108
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought to everything she danced this wonderful equalizing sense . When she danced her num- ber about the Queen in the Spanish ...
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought to everything she danced this wonderful equalizing sense . When she danced her num- ber about the Queen in the Spanish ...
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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