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 33
... create some " circumstance " within the logic of the situation to permit him to execute what's required . " Beats " -Number Fourteen - what that means , quite simply , is the distance from the beginning to the end of an intention . Your ...
... create some " circumstance " within the logic of the situation to permit him to execute what's required . " Beats " -Number Fourteen - what that means , quite simply , is the distance from the beginning to the end of an intention . Your ...
Page 100
... create , because I do believe that stifles your true feeling instead of releasing it ; but you can start your inside motor up and keep it running to create your means of projecting the whole truth of your part in a play . You might say ...
... create , because I do believe that stifles your true feeling instead of releasing it ; but you can start your inside motor up and keep it running to create your means of projecting the whole truth of your part in a play . You might say ...
Page 116
... create an artistic pattern . I give this example from Teahouse to show that there is nothing incompatible with a sense of form in the ideas in- herent in the principles of Stanislavski . Quite the contrary . They can , and should , be ...
... create an artistic pattern . I give this example from Teahouse to show that there is nothing incompatible with a sense of form in the ideas in- herent in the principles of Stanislavski . Quite the contrary . They can , and should , be ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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Common terms and phrases
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