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 42
... stage behavior can easily affect our actual stage per- formance . Don't forget that I'm still on " the inside ; " this item has to do with the proper atmosphere of creation . The last item on the " internal " half of the chart , Number ...
... stage behavior can easily affect our actual stage per- formance . Don't forget that I'm still on " the inside ; " this item has to do with the proper atmosphere of creation . The last item on the " internal " half of the chart , Number ...
Page 72
... stage in that way , and he accepts this customary incorrectness of theatrical mood for the natural living over of his part . Such actors are convinced that they are living over their parts , that they have understood all , that my ...
... stage in that way , and he accepts this customary incorrectness of theatrical mood for the natural living over of his part . Such actors are convinced that they are living over their parts , that they have understood all , that my ...
Page 119
... stage . There are other faces which have a certain luminousness on the stage which , upon close examination , may not contain the features of the ideal beauty . The thing that seems beautiful on the stage is what emanates from a person ...
... stage . There are other faces which have a certain luminousness on the stage which , upon close examination , may not contain the features of the ideal beauty . The thing that seems beautiful on the stage is what emanates from a person ...
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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