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 4
... talk on the pros and cons of the " Method " I thought I'd give eight more lectures on it ! Not that I simply want to add more talking : it's just that so much of the talk has been so con- fusing that it was beginning to confuse me ...
... talk on the pros and cons of the " Method " I thought I'd give eight more lectures on it ! Not that I simply want to add more talking : it's just that so much of the talk has been so con- fusing that it was beginning to confuse me ...
Page 94
... talk and listen . The director , if he's present , may give you a few hints to help . Although auditioning is never an ideal situation in our theatre , an intelligent actor can give some inkling of what is needed to be known by not ...
... talk and listen . The director , if he's present , may give you a few hints to help . Although auditioning is never an ideal situation in our theatre , an intelligent actor can give some inkling of what is needed to be known by not ...
Page 143
... talk and listen . By talk we don't mean just dribbling one word after another into your script ; we mean a specific technical thing : to convey some idea to the partner you are addressing . Since it is only your second rehearsal it is ...
... talk and listen . By talk we don't mean just dribbling one word after another into your script ; we mean a specific technical thing : to convey some idea to the partner you are addressing . Since it is only your second rehearsal it is ...
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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