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 80
... 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 author's words . So I said , " Now that you know ...
... 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 author's words . So I said , " Now that you know ...
Page 149
... reason not to know what the lights will be like be- fore you get to them , and then incorporate that knowl- edge in ... reason you have to be looking that way . It can be a reason quite apart from anything you could have imagined . It ...
... reason not to know what the lights will be like be- fore you get to them , and then incorporate that knowl- edge in ... reason you have to be looking that way . It can be a reason quite apart from anything you could have imagined . It ...
Page 150
... reasons that way , or more exciting , and to find a reason to do it like that . In other words , it is now possible for you , if you have pre- pared the earlier stages properly , to justify almost any- thing that is asked of you in the ...
... reasons that way , or more exciting , and to find a reason to do it like that . In other words , it is now possible for you , if you have pre- pared the earlier stages properly , to justify almost any- thing that is asked of you in 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 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