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 29
... ( Emotion ) . The first gives us the ideas and the understanding , the second gives us the power to execute our wishes , or problems , and the third fills us with the fuel of expression . The Mind is the easiest to control , says ...
... ( Emotion ) . The first gives us the ideas and the understanding , the second gives us the power to execute our wishes , or problems , and the third fills us with the fuel of expression . The Mind is the easiest to control , says ...
Page 35
... emotion , he can evoke the memory of some similar emotion in his life with- out his thinking consciously about it at all . The greatest actors do that . It is the grist for the mill of the creative artist . A writer , painter , or ...
... emotion , he can evoke the memory of some similar emotion in his life with- out his thinking consciously about it at all . The greatest actors do that . It is the grist for the mill of the creative artist . A writer , painter , or ...
Page 38
... emotion . " If you have ever been playing in a scene with an actor and the emotion has started to grow between the two of you and you have been able to sense it , measure it , and share it with the other artist , then you know what is ...
... emotion . " If you have ever been playing in a scene with an actor and the emotion has started to grow between the two of you and you have been able to sense it , measure it , and share it with the other artist , then you know what is ...
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