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 94
... deal by an interview , but a reading might reveal something you can't be sure of just by meeting the actor . It is possible to pick up a part and , without extensive preparation , give an adequate reading . Sometimes , even , a first ...
... deal by an interview , but a reading might reveal something you can't be sure of just by meeting the actor . It is possible to pick up a part and , without extensive preparation , give an adequate reading . Sometimes , even , a first ...
Page 96
... deal of our problem now stems from the fact that we have learned a lot about reflexes and the like which did not enter into the earlier arguments . The discussion of the basic artistic principle of real vs. simulated feeling , however ...
... deal of our problem now stems from the fact that we have learned a lot about reflexes and the like which did not enter into the earlier arguments . The discussion of the basic artistic principle of real vs. simulated feeling , however ...
Page 132
... deal with him . He's sick but you need action fast because your brothers are about to conclude a deal and you've got to get Horace in on it since you need him to get your share of the deal . You have to find out just what he thinks of ...
... deal with him . He's sick but you need action fast because your brothers are about to conclude a deal and you've got to get Horace in on it since you need him to get your share of the deal . You have to find out just what he thinks of ...
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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