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 42
... able to come in on a certain swell in the action just right , on the beat , and say , " STOP ! " - not to do it when he feels like stopping them , but to do it exactly on a certain syllable if he has to . You should , of course , know ...
... able to come in on a certain swell in the action just right , on the beat , and say , " STOP ! " - not to do it when he feels like stopping them , but to do it exactly on a certain syllable if he has to . You should , of course , know ...
Page 88
... able , true - feeling actors or are we to be artists who use our true feelings as one of the tools of our craft to create with ? The first problem in discussing this subject is to over- come the difficulty of defining the word truth at ...
... able , true - feeling actors or are we to be artists who use our true feelings as one of the tools of our craft to create with ? The first problem in discussing this subject is to over- come the difficulty of defining the word truth at ...
Page 158
... able to manage this task . Nevertheless , I should very much like this to go off almost without move- ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the ...
... able to manage this task . Nevertheless , I should very much like this to go off almost without move- ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the ...
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