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 38
With an Introd. by Harold Clurman Robert Lewis. trying to remember how you felt , a lot of people make that mistake — it is possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and ...
With an Introd. by Harold Clurman Robert Lewis. trying to remember how you felt , a lot of people make that mistake — it is possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and ...
Page 87
... felt there were more crimes committed , artistically speaking , in the name of truth than in the name of any other virtue . I also said I would ask the question as to whether or not the point ( of the Method ) was to reproduce our ...
... felt there were more crimes committed , artistically speaking , in the name of truth than in the name of any other virtue . I also said I would ask the question as to whether or not the point ( of the Method ) was to reproduce our ...
Page 163
... felt it was wrong to condone the " indicated , " unfortunately sometimes effective , kind of acting people indulge in where they are simply imitat- ing feeling ; but it was also wrong to call that kind of real , but personally - felt ...
... felt it was wrong to condone the " indicated , " unfortunately sometimes effective , kind of acting people indulge in where they are simply imitat- ing feeling ; but it was also wrong to call that kind of real , but personally - felt ...
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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