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 37
... believe in what you do on the stage . But he doesn't mean being " sincere " in a general way . He means specifically the whole problem of generating the feeling of faith that comes from finding something true in what is happening that ...
... believe in what you do on the stage . But he doesn't mean being " sincere " in a general way . He means specifically the whole problem of generating the feeling of faith that comes from finding something true in what is happening that ...
Page 52
... Believe me , I felt it was no good without that . ( It reminds me of Boris Aronson , the designer , who once said at my house in the country when he saw a beau- tiful tree standing near a large rock , “ Look at that tree— without that ...
... Believe me , I felt it was no good without that . ( It reminds me of Boris Aronson , the designer , who once said at my house in the country when he saw a beau- tiful tree standing near a large rock , “ Look at that tree— without that ...
Page 56
... believe him so he kept trying " to prove he'd loved him . As Chekhov was talking , his hands started to dig into the man's heart . Suddenly one got this terrific image of what love is the wanting to be- come one with somebody . It was a ...
... believe him so he kept trying " to prove he'd loved him . As Chekhov was talking , his hands started to dig into the man's heart . Suddenly one got this terrific image of what love is the wanting to be- come one with somebody . It was a ...
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