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. |
From inside the book
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Page 48
... play was something very much akin to what is called the " theme " -the underlying motivating idea that pervades the entire play . And each rôle in the play has its main objective deriving from the play's " Super - Objective . ” All the ...
... play was something very much akin to what is called the " theme " -the underlying motivating idea that pervades the entire play . And each rôle in the play has its main objective deriving from the play's " Super - Objective . ” All the ...
Page 80
... play when I couldn't get them to do it , for one reason or another , any other way while saying their lines in the play . Whatever the reason was , I could not get them to talk or listen to each other and really play the scene in the ...
... play when I couldn't get them to do it , for one reason or another , any other way while saying their lines in the play . Whatever the reason was , I could not get them to talk or listen to each other and really play the scene in the ...
Page 118
... play , and is right for , the highest moment in the part , regardless of whether he exactly fits the first entrance or not . I have seen more parts misinterpreted and more plays destroyed because the casting was done from the ...
... play , and is right for , the highest moment in the part , regardless of whether he exactly fits the first entrance or not . I have seen more parts misinterpreted and more plays destroyed because the casting was done from 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