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
... beginning to confuse me . Maybe , to- gether , we can clear up a few points here . For example , I've been hearing , " The Method is the only answer to truthful acting . ” Yet I know of great actors who are completely unaware of it ...
... beginning to confuse me . Maybe , to- gether , we can clear up a few points here . For example , I've been hearing , " The Method is the only answer to truthful acting . ” Yet I know of great actors who are completely unaware of it ...
Page 33
... beginning to the end of an intention . Your wish " to let him know you always sus- pected him " ( your intention ) might start with the line , " I knew you did it , " and continue through for the next six lines of your part . It might ...
... beginning to the end of an intention . Your wish " to let him know you always sus- pected him " ( your intention ) might start with the line , " I knew you did it , " and continue through for the next six lines of your part . It might ...
Page 110
... beginning of a musical piece ( allegro , grave , etc. ) is comparable to the " long - distance mood " of Stanislavski's , the pervading mood that goes through a whole play . Certainly , in the " Eroica " symphony , the idea of it being ...
... beginning of a musical piece ( allegro , grave , etc. ) is comparable to the " long - distance mood " of Stanislavski's , the pervading mood that goes through a whole play . Certainly , in the " Eroica " symphony , the idea of it being ...
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