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 72
... living over of his part . Such actors are convinced that they are living over their parts , that they have understood all , that my system has brought them unusual help , and they touchingly thank me and praise me for the discovery of a ...
... living over of his part . Such actors are convinced that they are living over their parts , that they have understood all , that my system has brought them unusual help , and they touchingly thank me and praise me for the discovery of a ...
Page 89
... living - the - part " actors really living the part one hun- dred per - cent , or are they just living themselves one hun- dred per - cent and adding the author's words to their own life onstage ? More , are they not often even ...
... living - the - part " actors really living the part one hun- dred per - cent , or are they just living themselves one hun- dred per - cent and adding the author's words to their own life onstage ? More , are they not often even ...
Page 163
... living their part " are really living the part or really living themselves and adding the author's words to that life . And , while I came out " in favor of " truth , I also tried to point out that truth in art was a much larger concept ...
... living their part " are really living the part or really living themselves and adding the author's words to that life . And , while I came out " in favor of " truth , I also tried to point out that truth in art was a much larger concept ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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acting Actor Prepares actress actual artist attitude audience beautiful Ben-Ami Brigadoon Building a Character called chart costume create curtain dance dancer director Duse elements emotion everything example feeling Félia Litvinne felt fetish Gene Lyons girl give going Group Theatre Hamlet happened Harold Clurman hear idea imagination important inner intention John Barrymore Laurette Taylor LECTURE Lewis listen look means ment Method Method actors Michael Chekhov Moissi mood Moscow Art Theatre moved movement Nina Koshetz Ophelia Othello Pauline Viardot performance person phony poetic theatre problem production psychological realistic rehearsal remember rhythm Sakini Salvini scene sense Shakespeare singing sound speaking specific speech stage Stanislavski Stanislavski system style talk technical technique tell tempo tempo-rhythm theatrical thing tion Tommaso Salvini true truth understand voice walking week whole play words