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
... kind of " indicated ” truth , the imitation of feel- ing , the falsely - effective acting that just needs nerve to accomplish . ( Not preferred by me , incidentally . ) It is true that it may satisfy some , but it goes no deeper into ...
... kind of " indicated ” truth , the imitation of feel- ing , the falsely - effective acting that just needs nerve to accomplish . ( Not preferred by me , incidentally . ) It is true that it may satisfy some , but it goes no deeper into ...
Page 131
... kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak fully and at length , as well as where you should be too moved to be able to speak much , or at all . The third step , after you ...
... kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak fully and at length , as well as where you should be too moved to be able to speak much , or at all . The third step , after you ...
Page 163
... 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 and inartistically expressed acting , truth . I think we ought to be able to reach out ...
... 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 and inartistically expressed acting , truth . I think we ought to be able to reach out ...
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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