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 41
... ment ) . It is the knowledge that tain intention is over , that the ne just where that point comes in th come where the dialogue seems in a well - written play . Just becaus the last I'm going to say about through with that " beat ...
... ment ) . It is the knowledge that tain intention is over , that the ne just where that point comes in th come where the dialogue seems in a well - written play . Just becaus the last I'm going to say about through with that " beat ...
Page 73
... ment , unforgettable , with that artists have . It was the one place to be simple , that she had to d point about simplicity home ! The same principle holds for ence between the first productio pens when the curtain goes up the widest ...
... ment , unforgettable , with that artists have . It was the one place to be simple , that she had to d point about simplicity home ! The same principle holds for ence between the first productio pens when the curtain goes up the widest ...
Page 96
... ment for you . All I can do is to tell you what moved me about it . " I told her my story and the actress said , “ I know just what you mean , because that same thing happened to me . It was in an entirely different way , but I ...
... ment for you . All I can do is to tell you what moved me about it . " I told her my story and the actress said , “ I know just what you mean , because that same thing happened to me . It was in an entirely different way , but I ...
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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