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 19
... Duse was old , drab and naturalistic ( like " life " as they say ! ) . I think he simply felt that Duse used her great beauty , charm , and sense of theatre to enact a character and nail the theme of the play to the stage , in- stead of ...
... Duse was old , drab and naturalistic ( like " life " as they say ! ) . I think he simply felt that Duse used her great beauty , charm , and sense of theatre to enact a character and nail the theme of the play to the stage , in- stead of ...
Page 102
... Duse was " playing her objective ” which was to fight off those ghosts of the past . You may feel that Grasso was " playing the op- posite . " But I say to you that you can call any one of the things spinach as far as I'm concerned ...
... Duse was " playing her objective ” which was to fight off those ghosts of the past . You may feel that Grasso was " playing the op- posite . " But I say to you that you can call any one of the things spinach as far as I'm concerned ...
Page 158
... Duse , for example , could do it ? C : [ roars ] Oh , Duse would fly across the whole stage here . S : Then who could ? C : I think you have not one , but several people who would do it . S : I know only one , but she doesn't like ...
... Duse , for example , could do it ? C : [ roars ] Oh , Duse would fly across the whole stage here . S : Then who could ? C : I think you have not one , but several people who would do it . S : I know only one , but she doesn't like ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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acting Actor Prepares actress actual artist attitude audience beautiful Ben-Ami Brigadoon Building a Character called chart costume create curtain dance dancer director Duse elements emotion everything example feeling Félia Litvinne felt fetish Gene Lyons girl give going Group Theatre Hamlet happened Harold Clurman hear idea imagination important inner intention John Barrymore Laurette Taylor LECTURE Lewis listen look means ment Method Method actors Michael Chekhov Moissi mood Moscow Art Theatre moved movement Nina Koshetz Ophelia Othello Pauline Viardot performance person phony poetic theatre problem production psychological realistic rehearsal remember rhythm Sakini Salvini scene sense Shakespeare singing sound speaking specific speech stage Stanislavski Stanislavski system style talk technical technique tell tempo tempo-rhythm theatrical thing tion Tommaso Salvini true truth understand voice walking week whole play words