Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 63
Finally annoyed , he got right down in the front with the director who recognized
him and said , “ Oh , Maestro , you ' re here ! ” “ Yes , I ' m here , ” said Stanislavski
. “ By the way , what is that you ' re doing up there ? ” “ Why , Maestro , " replied ...
Finally annoyed , he got right down in the front with the director who recognized
him and said , “ Oh , Maestro , you ' re here ! ” “ Yes , I ' m here , ” said Stanislavski
. “ By the way , what is that you ' re doing up there ? ” “ Why , Maestro , " replied ...
Page 117
[ Question from the audience ] : Do you as a director look for Method actors in
casting ? [ Answer ] : Well , I can answer the question very quickly . I think the
theatre uses everything , and if the person is good for the part and can do it that '
s fine ...
[ Question from the audience ] : Do you as a director look for Method actors in
casting ? [ Answer ] : Well , I can answer the question very quickly . I think the
theatre uses everything , and if the person is good for the part and can do it that '
s fine ...
Page 147
Therefore , anything the director can do to alleviate the torture of those obstacles
will make the whole process of growing in the rôles that much more normal . By
now you are acting so much of it that you need to know exactly where you ' re ...
Therefore , anything the director can do to alleviate the torture of those obstacles
will make the whole process of growing in the rôles that much more normal . By
now you are acting so much of it that you need to know exactly where you ' re ...
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Contents
INTRODUCTION by Harold Clurman | 3 |
Background | 9 |
The Method Itself SECOND LECTURE | 51 |
Copyright | |
5 other sections not shown
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Common terms and phrases
able acting actors actual answer artist attitude audience beautiful become beginning believe called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention interesting keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technique tell theatre theatrical thing thought tion true truth understand voice walking week whole