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 88
... true - feeling actors or are we to be artists who use our true feelings as one of the tools of our craft to create with ? The first problem in discussing this subject is to over- come the difficulty of defining the word truth at all ...
... true - feeling actors or are we to be artists who use our true feelings as one of the tools of our craft to create with ? The first problem in discussing this subject is to over- come the difficulty of defining the word truth at all ...
Page 98
... true . But that is only one application of the term . I would hope that he meant : given all the circumstances of the particular play - which might be , for example , that the characters do not live in the Bronx , they live in 17th ...
... true . But that is only one application of the term . I would hope that he meant : given all the circumstances of the particular play - which might be , for example , that the characters do not live in the Bronx , they live in 17th ...
Page 163
... true only to you - if you " feel right in it " but every other element of art involved in it is wrong — then it is not true , artistically speaking . I felt it was wrong to condone the " indicated , " unfortunately sometimes effective ...
... true only to you - if you " feel right in it " but every other element of art involved in it is wrong — then it is not true , artistically speaking . I felt it was wrong to condone the " indicated , " unfortunately sometimes effective ...
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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