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 24
... master spent a lifetime on . It is , however , the only way that I can try to define correctly for you his terms that one con- tinuously hears bandied about ; also , it is the only way I can point out to you the presence of certain ...
... master spent a lifetime on . It is , however , the only way that I can try to define correctly for you his terms that one con- tinuously hears bandied about ; also , it is the only way I can point out to you the presence of certain ...
Page 160
... Master and that all other actors , all outsiders from the inner tem- ple , were infidels . Then there was another group that I called " the angry knockers " -people who were just strik- ing out and using the word Method as an epithet ...
... Master and that all other actors , all outsiders from the inner tem- ple , were infidels . Then there was another group that I called " the angry knockers " -people who were just strik- ing out and using the word Method as an epithet ...
Page 162
... masters are often inclined to be more dogmatic than the masters themselves . While Stanislavski was very reluctant to put down his findings in any permanent form , hesitating for a long time , and only agreeing under great persuasion ...
... masters are often inclined to be more dogmatic than the masters themselves . While Stanislavski was very reluctant to put down his findings in any permanent form , hesitating for a long time , and only agreeing under great persuasion ...
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