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 28
... means is that when you are expressing yourself in a part , somehow all your reactions to life , all the ideas and feelings that you have stored up , come out in one way or another . Therefore , you should work to enlarge your knowledge ...
... means is that when you are expressing yourself in a part , somehow all your reactions to life , all the ideas and feelings that you have stored up , come out in one way or another . Therefore , you should work to enlarge your knowledge ...
Page 38
... mean that . He means to be able , by your choice , and with your will , to focus your attention wherever you wish ; it is that which helps determine the importance of what is happening in a scene . For example , I ( in the character of ...
... mean that . He means to be able , by your choice , and with your will , to focus your attention wherever you wish ; it is that which helps determine the importance of what is happening in a scene . For example , I ( in the character of ...
Page 42
... means the study of yourself , which so few people do , in order to know what you bring onto the stage as a ... means fast or slow , and " rhythm " means the inner beat . This combination - term , Tempo- rhythm , refers to something ...
... means the study of yourself , which so few people do , in order to know what you bring onto the stage as a ... means fast or slow , and " rhythm " means the inner beat . This combination - term , Tempo- rhythm , refers to something ...
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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