Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 78
I suspect there is a danger inherent in the practice of working exclusively on " big ” scenes in studio classes . It is inevitable that you will choose an exciting scene to do and not a dreary scene where nothing much happens .
I suspect there is a danger inherent in the practice of working exclusively on " big ” scenes in studio classes . It is inevitable that you will choose an exciting scene to do and not a dreary scene where nothing much happens .
Page 106
With very little time to set up we were terrified that things were not going to go well technically . The curtain went up on the first set , a small scene of two fellows lost in a forest , and it went along all right .
With very little time to set up we were terrified that things were not going to go well technically . The curtain went up on the first set , a small scene of two fellows lost in a forest , and it went along all right .
Page 148
I take a scene or a section of it and have the actors involved do the scene in the chairs so that they get that wonderful connection again which they have lost a bit through having to get their positions . Then , as soon as they've got ...
I take a scene or a section of it and have the actors involved do the scene in the chairs so that they get that wonderful connection again which they have lost a bit through having to get their positions . Then , as soon as they've got ...
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention interesting keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technique tell theatre theatrical thing thought tion true truth understand voice walking week whole