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 57
... moved , and very correctly , at that . If you seek what it was that affected you that first time , you might arrive more safely at feelings that fit the play . It was also found that the complete performance of the " intentions ...
... moved , and very correctly , at that . If you seek what it was that affected you that first time , you might arrive more safely at feelings that fit the play . It was also found that the complete performance of the " intentions ...
Page 96
... 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 understand that feeling . I've been faced with a similar ...
... 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 understand that feeling . I've been faced with a similar ...
Page 131
... moved to be able to speak much , or at all . The third step , after you have fitted your acting to the music timewise , is to add the singing . Since singing raises you to a point of general feeling by itself , you may lose some of the ...
... moved to be able to speak much , or at all . The third step , after you have fitted your acting to the music timewise , is to add the singing . Since singing raises you to a point of general feeling by itself , you may lose some of the ...
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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