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 25
... dance notation with which they record ballet perform- ances , etc. They don't say if you follow that notation you'll be a dancer . What is put down are the steps ; they still have to be danced . It is a means to an end . Well , let's ...
... dance notation with which they record ballet perform- ances , etc. They don't say if you follow that notation you'll be a dancer . What is put down are the steps ; they still have to be danced . It is a means to an end . Well , let's ...
Page 44
... Dancing . " Of 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 ...
... Dancing . " Of 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 ...
Page 108
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought ... dance about the fisher - girl , a peasant number , she behaved with all the dignity of a queen . In the same Casals ...
... dancer , Argentina . Though a very fine Spanish dancer , she was really important beyond that insofar as she brought ... dance about the fisher - girl , a peasant number , she behaved with all the dignity of a queen . In the same Casals ...
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