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 5
... interesting , knowing Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt . " However , we weren't there and it is awfully hard to check reports on past performances . I do have , though , a ...
... interesting , knowing Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt . " However , we weren't there and it is awfully hard to check reports on past performances . I do have , though , a ...
Page 16
... interesting impression , using the theories of Mr. Brecht , in their sea- son in London . Then there is a system of acting called " Bio - mechanics , " which has no relation to realistic acting at all . It was de- veloped by a Moscow ...
... interesting impression , using the theories of Mr. Brecht , in their sea- son in London . Then there is a system of acting called " Bio - mechanics , " which has no relation to realistic acting at all . It was de- veloped by a Moscow ...
Page 47
... . It was q a section about walking in the boo in which Stanislavski really break into the various joints of the body gins to get a little technical but , the posturing and false ways of v into , you can see it is interesting to try.
... . It was q a section about walking in the boo in which Stanislavski really break into the various joints of the body gins to get a little technical but , the posturing and false ways of v into , you can see it is interesting to try.
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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