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 25
... actual ma- terials , not ideas alone . I do not want to add one bit to the pile of hash that is built up by the inept teaching that goes on in all the performing arts . Ahhh - now here is the chart ; this is my original copy . [ Here I ...
... actual ma- terials , not ideas alone . I do not want to add one bit to the pile of hash that is built up by the inept teaching that goes on in all the performing arts . Ahhh - now here is the chart ; this is my original copy . [ Here I ...
Page 44
... actual knowledge of body expres- siveness . Number Thirty - five is " Dancing . " Of course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But ...
... actual knowledge of body expres- siveness . Number Thirty - five is " Dancing . " Of course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But ...
Page 158
... contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare it is created pri- marily and entirely by the actual words . S : Yes , but one must be able to 158.
... contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare it is created pri- marily and entirely by the actual words . S : Yes , but one must be able to 158.
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