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 62
... stage and he didn't want to interrupt he sat in the back of the auditorium for a moment . The director was sitting down front in the house and the actors were on the a sort of psychological constipatio free flow of speech . 62.
... stage and he didn't want to interrupt he sat in the back of the auditorium for a moment . The director was sitting down front in the house and the actors were on the a sort of psychological constipatio free flow of speech . 62.
Page 123
... speaking beautiful emptinesses , and that realism is deeply felt psychological truth with no attention to form at all . I think they are both wrong . All art has form . Realism must 123 SEVENTH LECTURE: The Method and ...
... speaking beautiful emptinesses , and that realism is deeply felt psychological truth with no attention to form at all . I think they are both wrong . All art has form . Realism must 123 SEVENTH LECTURE: The Method and ...
Page 151
... psychologically : the relation- ships of the characters , the probing into what the people mean by what they say , the emotional content of the scenes , etc. There may be few difficult problems of physi- cal staging in a play of that ...
... psychologically : the relation- ships of the characters , the probing into what the people mean by what they say , the emotional content of the scenes , etc. There may be few difficult problems of physi- cal staging in a play of that ...
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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