Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 24
I know that I run the risk of confusing some of you who have had no contact at all
with the Method. I've thought it over very carefully, several times resolving to skip
this evening entirely, and I've decided it is the only way to keep what I'm going ...
I know that I run the risk of confusing some of you who have had no contact at all
with the Method. I've thought it over very carefully, several times resolving to skip
this evening entirely, and I've decided it is the only way to keep what I'm going ...
Page 36
For example, I (in the character of a lecturer) am here putting my concentration at
this moment on describing and defining, as best 1 can, the terms in the
Stanislavski method to you, the audience. Various other things are occupying 36.
For example, I (in the character of a lecturer) am here putting my concentration at
this moment on describing and defining, as best 1 can, the terms in the
Stanislavski method to you, the audience. Various other things are occupying 36.
Page 84
Gone would be the unrelated slouch, the self-conscious hands in the pockets, the
sawing of the air, the running of the fingers through the hair of so many Method
advocates if they really were following Stanislavski and that right side of the ...
Gone would be the unrelated slouch, the self-conscious hands in the pockets, the
sawing of the air, the running of the fingers through the hair of so many Method
advocates if they really were following Stanislavski and that right side of the ...
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Contents
INTRODUCTION by Harold Clurman | 3 |
Background | 9 |
The Method Itself SECOND LECTURE | 51 |
Copyright | |
5 other sections not shown
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Common terms and phrases
able acting actors actual answer artist attitude audience beautiful become beginning believe called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention interesting keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technique tell theatre theatrical thing thought tion true truth understand voice walking week whole