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 4
... actors who are completely unaware of it : and I know of other great actors who are aware of it and violently opposed to it . Then again I hear , " The Method is a curse , it is ruining the theatre . " Yet I know of great actors who , I ...
... actors who are completely unaware of it : and I know of other great actors who are aware of it and violently opposed to it . Then again I hear , " The Method is a curse , it is ruining the theatre . " Yet I know of great actors who , I ...
Page 15
... actors and attempted to put down what he learned from them . He had a studio in which he tried to work out these ... actors studied with Strasberg and Harold Clurman . Those actors developed into teachers who then formed a studio and ...
... actors and attempted to put down what he learned from them . He had a studio in which he tried to work out these ... actors studied with Strasberg and Harold Clurman . Those actors developed into teachers who then formed a studio and ...
Page 57
... actors over the years , have found that emotion is not necessarily the biggest problem . If I have chosen my actors carefully and everything else has been prepared , I usually find the actors are " feeling " correctly . And how some actors ...
... actors over the years , have found that emotion is not necessarily the biggest problem . If I have chosen my actors carefully and everything else has been prepared , I usually find the actors are " feeling " correctly . And how some actors ...
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