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 52
... listen- ing - you know , breaking it up a little ! And after I had done everything seemingly needed for the scene and there it all was , I suddenly asked one character to lie on the ground , lean forward on one hand , turn up towards ...
... listen- ing - you know , breaking it up a little ! And after I had done everything seemingly needed for the scene and there it all was , I suddenly asked one character to lie on the ground , lean forward on one hand , turn up towards ...
Page 80
... listen to each other and really play the scene in the author's words . So I said , " Now that you know the make - up of the scene , the intentions , just get up and do it in your own words . Forget the lines of the play ; if some lines ...
... listen to each other and really play the scene in the author's words . So I said , " Now that you know the make - up of the scene , the intentions , just get up and do it in your own words . Forget the lines of the play ; if some lines ...
Page 94
... listen . The director , if he's present , may give you a few hints to help . Although auditioning is never an ideal ... listening to the audition must be intelligent , too , and not expect a finished performance . For a moment let's talk ...
... listen . The director , if he's present , may give you a few hints to help . Although auditioning is never an ideal ... listening to the audition must be intelligent , too , and not expect a finished performance . For a moment let's talk ...
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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