Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 72
But the actor feels himself in comfort on the stage in that way , and he accepts this customary incorrectness of theatrical mood for the natural living over of his part . Such actors are convinced that they are living over their parts ...
But the actor feels himself in comfort on the stage in that way , and he accepts this customary incorrectness of theatrical mood for the natural living over of his part . Such actors are convinced that they are living over their parts ...
Page 89
To come back to the actors : are the " one hundred percent living - the - part ” actors really living the part one hundred per - cent , or are they just living themselves one hundred per - cent and adding the author's words to their own ...
To come back to the actors : are the " one hundred percent living - the - part ” actors really living the part one hundred per - cent , or are they just living themselves one hundred per - cent and adding the author's words to their own ...
Page 163
I then came to “ truth ” and asked whether the people ” who are always speaking of “ living their part ” are really living the part or really living themselves and adding the author's words to that life .
I then came to “ truth ” and asked whether the people ” who are always speaking of “ living their part ” are really living the part or really living themselves and adding the author's words to that life .
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technical technique tell theatre theatrical thing thought tion true truth understand voice walking week whole