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 38
... possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you ...
... possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you ...
Page 116
... possible that there is , and will be , more or less feeling in a given performance . Salvini played Othello a hundred times in his whole life , and he lived to be an old man , but he said he only really played it about two or three ...
... possible that there is , and will be , more or less feeling in a given performance . Salvini played Othello a hundred times in his whole life , and he lived to be an old man , but he said he only really played it about two or three ...
Page 149
... possible for you to execute all sorts of things you could never have imagined possible earlier in rehearsal . You'll find , for example , you can be looking away from your sweetheart , instead of at her , at the mo- ment you realize she ...
... possible for you to execute all sorts of things you could never have imagined possible earlier in rehearsal . You'll find , for example , you can be looking away from your sweetheart , instead of at her , at the mo- ment you realize she ...
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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