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 42
... come through and be delivered to the audience , if your body is in the correct state of physical relaxation . Tension has a tendency to press your feeling down and kill it , much like the bottle with the float in it with which , as ...
... come through and be delivered to the audience , if your body is in the correct state of physical relaxation . Tension has a tendency to press your feeling down and kill it , much like the bottle with the float in it with which , as ...
Page 77
... come to work in an actual production , they have no useful technique . One : they have no sense of rhythm . ( If you ... Come on ! " and they had to reply three times , " No ! " It had to go like this : " Come on ! " " No ! " " COME ON ...
... come to work in an actual production , they have no useful technique . One : they have no sense of rhythm . ( If you ... Come on ! " and they had to reply three times , " No ! " It had to go like this : " Come on ! " " No ! " " COME ON ...
Page 126
... comes to a stone and sees inside some image , some statue . To everyone else it looks like a rock , but because he is an artist , he sees something in there . So he starts chip- ping away his little pieces of stone . Now the important ...
... comes to a stone and sees inside some image , some statue . To everyone else it looks like a rock , but because he is an artist , he sees something in there . So he starts chip- ping away his little pieces of stone . Now the important ...
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