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 52
... complete kind of circular line up toward the two central figures . The actor did it when he was placed there but every time we'd go through the scene , and he'd gotten up to say his few lines , he'd never return to his original position ...
... complete kind of circular line up toward the two central figures . The actor did it when he was placed there but every time we'd go through the scene , and he'd gotten up to say his few lines , he'd never return to his original position ...
Page 56
... Complete Internal " plus the " Complete External " outlined in the Method chart , yet he was reticent to call himself a Stanislavski authority . We should emulate this attitude by trying always to ex- amine the subject undogmatically ...
... Complete Internal " plus the " Complete External " outlined in the Method chart , yet he was reticent to call himself a Stanislavski authority . We should emulate this attitude by trying always to ex- amine the subject undogmatically ...
Page 117
... complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she had to accomplish in each scene was eminently clear to her . Now ...
... complete , her understanding of the play was complete , exactly who all these other people were that she was talking to was fully understood at all times , and what she had to accomplish in each scene was eminently clear to her . Now ...
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