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 51
... attitudes toward this monumental work of Stanislavski's . Recently , I have tried to think of my own attitude toward it . I find it is the same as what I feel toward any technique I have studied . There are two aspects to the way ...
... attitudes toward this monumental work of Stanislavski's . Recently , I have tried to think of my own attitude toward it . I find it is the same as what I feel toward any technique I have studied . There are two aspects to the way ...
Page 53
... attitude toward the use of all techniques , including this Stanislavski system . It is all there to know about and to study and to use when , and if , the need arises . But I would now like to go on to some other attitudes toward this ...
... attitude toward the use of all techniques , including this Stanislavski system . It is all there to know about and to study and to use when , and if , the need arises . But I would now like to go on to some other attitudes toward this ...
Page 56
... attitude by trying always to ex- amine the subject undogmatically . Now there was a distinct change in attitude toward the Method in 1934 when my Group Theatre friends came back with the report from Stanislavski . That change had to do ...
... attitude by trying always to ex- amine the subject undogmatically . Now there was a distinct change in attitude toward the Method in 1934 when my Group Theatre friends came back with the report from Stanislavski . That change had to do ...
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