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 12
... never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly " theatrical . " It was a real physical thrill . I remem- ber ...
... never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly " theatrical . " It was a real physical thrill . I remem- ber ...
Page 52
... never return to his original position . He'd sit on his haunches to get comfortable ; or if he did everything else right that leg never got all the way around back again . I kept saying , " Get the leg back ! " I would not rest unless ...
... never return to his original position . He'd sit on his haunches to get comfortable ; or if he did everything else right that leg never got all the way around back again . I kept saying , " Get the leg back ! " I would not rest unless ...
Page 94
... never an ideal situation in our theatre , an intelligent actor can give some inkling of what is needed to be known by not forcing feelings he doesn't have and by not trying to accomplish the whole characterization in the audition ...
... never an ideal situation in our theatre , an intelligent actor can give some inkling of what is needed to be known by not forcing feelings he doesn't have and by not trying to accomplish the whole characterization in the audition ...
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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