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 62
... clear - cut rhythm of speech facili- tates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear speech . Of course , all this occurs in the cases where pre- cision of speech is ...
... clear - cut rhythm of speech facili- tates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear speech . Of course , all this occurs in the cases where pre- cision of speech is ...
Page 143
... clear , others may elude you , and some may even appear as the opposite of what they are eventually going to be . But at any rate , whether or not it is clear what the correct intention is at every mo- ment , if you really talk to ...
... clear , others may elude you , and some may even appear as the opposite of what they are eventually going to be . But at any rate , whether or not it is clear what the correct intention is at every mo- ment , if you really talk to ...
Page 151
... clear are not clear to the public . In other things you find the audience is way ahead of you , etc. — and you fix and fix until the New York première . Now the amount of time that should be spent on each one of these sections of ...
... clear are not clear to the public . In other things you find the audience is way ahead of you , etc. — and you fix and fix until the New York première . Now the amount of time that should be spent on each one of these sections of ...
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