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 16
... technique ? Well , now there are some formalized techniques ; and then there are the “ do - it- yourself " varieties . I'll give you first some examples of formalized techniques . Remember , I said there was more than one . Some of you ...
... technique ? Well , now there are some formalized techniques ; and then there are the “ do - it- yourself " varieties . I'll give you first some examples of formalized techniques . Remember , I said there was more than one . Some of you ...
Page 17
... technique is to stimulate this creat need it . I'll change that to as you ne it to your artistic consciences if you tals need that stimulus from time to Most actors have some technique- found in my directing that the m pointed ...
... technique is to stimulate this creat need it . I'll change that to as you ne it to your artistic consciences if you tals need that stimulus from time to Most actors have some technique- found in my directing that the m pointed ...
Page 52
... technique . It is quite a different thing from working on your technique . To test myself as to how technique has served me as I direct , I tried this week to think of specific moments when I had to have a certain effect ; times when ...
... technique . It is quite a different thing from working on your technique . To test myself as to how technique has served me as I direct , I tried this week to think of specific moments when I had to have a certain effect ; times when ...
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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