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 139
... rehearsal form . I will outline one pos- sible rehearsal process which would , I feel , be a normal way to arrive at the results of the full inside and the formed outside that we have been discussing . I also recommend this as something ...
... rehearsal form . I will outline one pos- sible rehearsal process which would , I feel , be a normal way to arrive at the results of the full inside and the formed outside that we have been discussing . I also recommend this as something ...
Page 142
... rehearsal , because naturally , each person has his own first impression . Beginnings are ex- tremely important ... rehearsal is usually strained for everybody and if it's over before the actors have worked , you are into your second ...
... rehearsal , because naturally , each person has his own first impression . Beginnings are ex- tremely important ... rehearsal is usually strained for everybody and if it's over before the actors have worked , you are into your second ...
Page 151
... rehearsal varies according to the problems of the particular play . There are some scripts that are extremely involved psychologically : the relation- ships of the characters , the probing into what the people mean by what they say ...
... rehearsal varies according to the problems of the particular play . There are some scripts that are extremely involved psychologically : the relation- ships of the characters , the probing into what the people mean by what they say ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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Common terms and phrases
acting Actor Prepares actress actual artist attitude audience beautiful Ben-Ami Brigadoon Building a Character called chart costume create curtain dance dancer director Duse elements emotion everything example feeling Félia Litvinne felt fetish Gene Lyons girl give going Group Theatre Hamlet happened Harold Clurman hear idea imagination important inner intention John Barrymore Laurette Taylor LECTURE Lewis listen look means ment Method Method actors Michael Chekhov Moissi mood Moscow Art Theatre moved movement Nina Koshetz Ophelia Othello Pauline Viardot performance person phony poetic theatre problem production psychological realistic rehearsal remember rhythm Sakini Salvini scene sense Shakespeare singing sound speaking specific speech stage Stanislavski Stanislavski system style talk technical technique tell tempo tempo-rhythm theatrical thing tion Tommaso Salvini true truth understand voice walking week whole play words