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 98
... inner impulse . Two : ( still not preferable , for my taste ) the kind of per- sonalized feeling which may be really felt , but is uncon- nected with the source of the material being interpreted and brings all to the particular level of ...
... inner impulse . Two : ( still not preferable , for my taste ) the kind of per- sonalized feeling which may be really felt , but is uncon- nected with the source of the material being interpreted and brings all to the particular level of ...
Page 146
... inner form that the director has given out re- mains . He should also encourage the actors to act as much as possible while still in their chairs , or even get- ting up and going over to their partners in the scenes to play it . You are ...
... inner form that the director has given out re- mains . He should also encourage the actors to act as much as possible while still in their chairs , or even get- ting up and going over to their partners in the scenes to play it . You are ...
Page 151
... inner problems because you know you are going to accomplish the physical staging comparatively quickly . If , on the other hand , you are faced with a farce , let's say , which is fairly simple , psychologically speaking , but has ...
... inner problems because you know you are going to accomplish the physical staging comparatively quickly . If , on the other hand , you are faced with a farce , let's say , which is fairly simple , psychologically speaking , but has ...
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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