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 27
... walking . " Across the top Stanislavski has di " A " encompassing the whole proc is called " the Transaction " and whi equals " B , " called here the " Spine " the Super - objective ) . T Now , all of these pipes on the le complete ...
... walking . " Across the top Stanislavski has di " A " encompassing the whole proc is called " the Transaction " and whi equals " B , " called here the " Spine " the Super - objective ) . T Now , all of these pipes on the le complete ...
Page 47
... walking onstage , Stan whole process and set down a se I feel he was inspired in a certai can . ) I remember once having I 1 dance class with Tamiris during t We really consciously broke dow walking and finally got back to thinking . By ...
... walking onstage , Stan whole process and set down a se I feel he was inspired in a certai can . ) I remember once having I 1 dance class with Tamiris during t We really consciously broke dow walking and finally got back to thinking . By ...
Page 48
... walking simply and beautifully on the stage . Of course then , if you want to add some characteristic element of walking , you have your basis . Two terms that are still undefined are " spine " and " long- distance mood , " the last not ...
... walking simply and beautifully on the stage . Of course then , if you want to add some characteristic element of walking , you have your basis . Two terms that are still undefined are " spine " and " long- distance mood , " the last not ...
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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