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 43
... moved by experiences if w rhythm in which they first happ ample : you can have heard a so you suddenly hear it played in a c you . It may be that that is the wa it under certain emotional circu particular beat helps to move y is , in ...
... moved by experiences if w rhythm in which they first happ ample : you can have heard a so you suddenly hear it played in a c you . It may be that that is the wa it under certain emotional circu particular beat helps to move y is , in ...
Page 96
... moving mo- 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 ...
... moving mo- 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 ...
Page 158
... move- ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the whole scene takes place to the right of the audience . I should think that as the conversation ...
... move- ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the whole scene takes place to the right of the audience . I should think that as the conversation ...
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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