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 24
... going to say in all these eight talks from once again becoming general or , worse , mysterious . The thought that finally determined me was , " Well , it's all published any- way , and there's nothing I'm going to say that isn't in the ...
... going to say in all these eight talks from once again becoming general or , worse , mysterious . The thought that finally determined me was , " Well , it's all published any- way , and there's nothing I'm going to say that isn't in the ...
Page 96
... going to be a difficult moment for the actress because it just so happened that there was not much preparation for it in the scene . I said to her , " I don't know what you are going to do in this moment . You are on the stage , it ...
... going to be a difficult moment for the actress because it just so happened that there was not much preparation for it in the scene . I said to her , " I don't know what you are going to do in this moment . You are on the stage , it ...
Page 148
... going to make you uncomfortable , and that prop that will prevent you from flinging your hands around . You should , with your imagination ( the labor costs prevent you having the actual props ) , create for yourself all of the ...
... going to make you uncomfortable , and that prop that will prevent you from flinging your hands around . You should , with your imagination ( the labor costs prevent you having the actual props ) , create for yourself all of the ...
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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