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
... happened and sud- denly you start to be moved again by the experience . Stanislavski tried to work this out so that ... happening in a scene . For example , I ( in the character of a lecturer ) am here putting my concentration at this ...
... happened and sud- denly you start to be moved again by the experience . Stanislavski tried to work this out so that ... happening in a scene . For example , I ( in the character of a lecturer ) am here putting my concentration at this ...
Page 96
... 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 happens quickly and there you are faced with it . It should be a ...
... 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 happens quickly and there you are faced with it . It should be a ...
Page 118
... happened to my play ? It's not getting over ! " You see , the actors are getting big hands because they have already made their marks in the opening scenes , and when the play suddenly seems boring , nobody is going to blame all those ...
... happened to my play ? It's not getting over ! " You see , the actors are getting big hands because they have already made their marks in the opening scenes , and when the play suddenly seems boring , nobody is going to blame all those ...
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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