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 105
... sense of truth which I think we've belabored enough ) the following three aspects . First , a sense of the whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in ...
... sense of truth which I think we've belabored enough ) the following three aspects . First , a sense of the whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in ...
Page 108
... sense of balance in the problem of form . All the great artists I've witnessed in any field have had this sense of balance . They were great equalizers . They saw all around a problem , not just one side of it . I am reminded of the ...
... sense of balance in the problem of form . All the great artists I've witnessed in any field have had this sense of balance . They were great equalizers . They saw all around a problem , not just one side of it . I am reminded of the ...
Page 117
... sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she ...
... sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she ...
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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