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 x
... acting - good acting - and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the theatre depends on the nature of the play presented , the production ideas and tempera ...
... acting - good acting - and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the theatre depends on the nature of the play presented , the production ideas and tempera ...
Page 9
... Actor or artist ? Does the manner in which various practitioners work on the Method aim too often at training certain limited specific elements of acting rather than at developing good artists ? In this section I will also discuss acting ...
... Actor or artist ? Does the manner in which various practitioners work on the Method aim too often at training certain limited specific elements of acting rather than at developing good artists ? In this section I will also discuss acting ...
Page 87
... acting . If you remember , when I promised in the first talk to get to this point , I said I felt there were more ... acting . What started his study was the posturing and false imitat- ing he saw in the actors of his day ; he felt there ...
... acting . If you remember , when I promised in the first talk to get to this point , I said I felt there were more ... acting . What started his study was the posturing and false imitat- ing he saw in the actors of his day ; he felt there ...
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