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 72
... Laurette Taylor comes up ; she is admired and pointed to by adherents of the Stanislavski system . I was fortunate enough to have spent some time with her naturally I went to see her and study her often on the stage and I heard her ...
... Laurette Taylor comes up ; she is admired and pointed to by adherents of the Stanislavski system . I was fortunate enough to have spent some time with her naturally I went to see her and study her often on the stage and I heard her ...
Page 84
... Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production that was fed by her won- derful inner glow . The same thing is true of the problems of ...
... Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production that was fed by her won- derful inner glow . The same thing is true of the problems of ...
Page 117
... Laurette Taylor was never exactly the same . And yet , for our purposes , I would say that she was always the same because her sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play ...
... Laurette Taylor was never exactly the same . And yet , for our purposes , I would say that she was always the same because her sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play ...
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 FĂ©lia 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