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 5
... Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt . " However , we weren't ... Stanislavski , in other words , did not go to hear a mumbler and decide to formulate a system for mumbling - that ...
... Stanislavski's love of truth , that Lewes also said that Salvini " overacted and underfelt . " However , we weren't ... Stanislavski , in other words , did not go to hear a mumbler and decide to formulate a system for mumbling - that ...
Page 36
... Stanislavski tried to work this out so that it can be used as material by the creative actor . Of course a great deal of the nonsense that used to be spoken about the Group Theatre in the thirties came from this particular item . It's ...
... Stanislavski tried to work this out so that it can be used as material by the creative actor . Of course a great deal of the nonsense that used to be spoken about the Group Theatre in the thirties came from this particular item . It's ...
Page 54
... Stanislavski was always searching , always changing , and he said , " It is not my system . I did not invent any- thing . I am simply trying to put down something which is based on the laws of creation . " He religiously studied those ...
... Stanislavski was always searching , always changing , and he said , " It is not my system . I did not invent any- thing . I am simply trying to put down something which is based on the laws of creation . " He religiously studied those ...
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