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 110
... director's score , the regisseur's book , which has all his staging markings and his production plan in it . The actor also can , and I think should , have his score . All during rehearsal I keep saying , " Write your intentions down ...
... director's score , the regisseur's book , which has all his staging markings and his production plan in it . The actor also can , and I think should , have his score . All during rehearsal I keep saying , " Write your intentions down ...
Page 117
... director look for Method actors in casting ? [ Answer ] : Well , I can an- swer 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 by me . I don't care ...
... director look for Method actors in casting ? [ Answer ] : Well , I can an- swer 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 by me . I don't care ...
Page 150
... director suddenly feels it is more exciting for you not to be looking right at her at that moment . The point is you now know so much about it that the director can safely say , " Although you have previously been look- ing at her in ...
... director suddenly feels it is more exciting for you not to be looking right at her at that moment . The point is you now know so much about it that the director can safely say , " Although you have previously been look- ing at her in ...
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