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 44
... course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But even failing anything as specific as that ( you don't have to become an accomplished ...
... course actual danc- ing can have practical use at times , say , if you are playing Molière and you are called upon to execute a real dance step . But even failing anything as specific as that ( you don't have to become an accomplished ...
Page 53
... course , he was criti- cizing nature ; this was only art that I was working on ! ) The actor finally said to me , " Why would I sit like that ? It's uncomfortable for me and no one in the world would do it . " So I said , " Look . He's ...
... course , he was criti- cizing nature ; this was only art that I was working on ! ) The actor finally said to me , " Why would I sit like that ? It's uncomfortable for me and no one in the world would do it . " So I said , " Look . He's ...
Page 150
... course if he does it repeatedly , you have to point it out to him . But the chief thing is to give the important notes such as where the actor goes off from the main idea of the scene . If he can set himself right again on that you very ...
... course if he does it repeatedly , you have to point it out to him . But the chief thing is to give the important notes such as where the actor goes off from the main idea of the scene . If he can set himself right again on that you very ...
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