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 48
... problem of the play , the " spine , " was , " how to deal with the problems of life in a world where success is the criterion . ” Now everything in the play was about that in one way or another and each character in the play had a ...
... problem of the play , the " spine , " was , " how to deal with the problems of life in a world where success is the criterion . ” Now everything in the play was about that in one way or another and each character in the play had a ...
Page 133
... problems given us by form are things which can and must be solved in conjunction with the inner problem . This is , I think , where the trouble has been in the two points of view I keep talking about : Thạt , al- though in the realistic ...
... problems given us by form are things which can and must be solved in conjunction with the inner problem . This is , I think , where the trouble has been in the two points of view I keep talking about : Thạt , al- though in the realistic ...
Page 135
... problems : Let's start with the true sensory feeling , if you will . He was really thirsty -you can start with that ... problem in Poetic Theatre . I would just like to conclude this subject by saying that JUN REHEARSAL PROCE EIGHTH ...
... problems : Let's start with the true sensory feeling , if you will . He was really thirsty -you can start with that ... problem in Poetic Theatre . I would just like to conclude this subject by saying that JUN REHEARSAL PROCE EIGHTH ...
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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