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 60
... sounds and syllables receive a stronger or a weaker rhythmic accentuation ; a third group may be entirely without any accent . " These spoken sounds , in turn , are interlarded with pauses , rests for breathing , of most variable ...
... sounds and syllables receive a stronger or a weaker rhythmic accentuation ; a third group may be entirely without any accent . " These spoken sounds , in turn , are interlarded with pauses , rests for breathing , of most variable ...
Page 63
... In my own work in Regina , v at the City Center , I had Brenda I and in working with her I found fe singing . On the contrary , her er hanced her singing . The whole p sound do you want to make : do yo even , empty sound ; or do you want ...
... In my own work in Regina , v at the City Center , I had Brenda I and in working with her I found fe singing . On the contrary , her er hanced her singing . The whole p sound do you want to make : do yo even , empty sound ; or do you want ...
Page 64
With an Introd. by Harold Clurman Robert Lewis. even , empty sound ; or do you want to make a sound of true beauty because it has to do with what's going on in the play ? See you next week . FOURTH LECTURE MAY 6 , 1957 METHOD FETISHES al “ ...
With an Introd. by Harold Clurman Robert Lewis. even , empty sound ; or do you want to make a sound of true beauty because it has to do with what's going on in the play ? See you next week . FOURTH LECTURE MAY 6 , 1957 METHOD FETISHES al “ ...
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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 Félia 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