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 34
... discuss the uses and misuses of the Method . I am merely defining now , and quickly , at that . ) Sixteen- " Imagination . " Stanislavski knew this to be a thoroughly practical piece of technical equipment for the actor . He put it down ...
... discuss the uses and misuses of the Method . I am merely defining now , and quickly , at that . ) Sixteen- " Imagination . " Stanislavski knew this to be a thoroughly practical piece of technical equipment for the actor . He put it down ...
Page 35
... discuss and work on in a small class and much less publicly than this . This is the same item that was subsequently referred to as " affective mem- ory " in the Group Theatre days . Now , normally , it is something which every fine ...
... discuss and work on in a small class and much less publicly than this . This is the same item that was subsequently referred to as " affective mem- ory " in the Group Theatre days . Now , normally , it is something which every fine ...
Page 43
... discuss the Method in relation to Poetic Theatre , Shakespeare , etc. " Movement . " Thirty - four . Well , that means your sense of where you are in the design of the scene , how you go from one place to another on the stage with a 43.
... discuss the Method in relation to Poetic Theatre , Shakespeare , etc. " Movement . " Thirty - four . Well , that means your sense of where you are in the design of the scene , how you go from one place to another on the stage with a 43.
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