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
... speech . In making use of them an actor works out for himself a finely pro- portioned speech style . He needs this when he is on the stage and using words to convey both the exalted emotions of tragedy and the gay mood of comedy A ...
... speech . In making use of them an actor works out for himself a finely pro- portioned speech style . He needs this when he is on the stage and using words to convey both the exalted emotions of tragedy and the gay mood of comedy A ...
Page 62
... speech . He switches it not only from clause to clause but in the mid- dle even of a single phrase . Often one half of a sentence will be spoken in a slow tempo and the second half in a markedly rapid one . Let us take the phrase ...
... speech . He switches it not only from clause to clause but in the mid- dle even of a single phrase . Often one half of a sentence will be spoken in a slow tempo and the second half in a markedly rapid one . Let us take the phrase ...
Page 165
... speech , movement , pos- ture , and all the various things they call " style , ” they are actually building on solid ground - on well - thought - out and truly experienced " insides . " On the other hand , I would like those who call ...
... speech , movement , pos- ture , and all the various things they call " style , ” they are actually building on solid ground - on well - thought - out and truly experienced " insides . " On the other hand , I would like those who call ...
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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