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 ...
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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