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 52
... everything seemingly needed for the scene and there it all was , I suddenly asked one character to lie on the ground , lean forward on one hand , turn up towards Johnny to listen , and curve his right leg all the way around back of him ...
... everything seemingly needed for the scene and there it all was , I suddenly asked one character to lie on the ground , lean forward on one hand , turn up towards Johnny to listen , and curve his right leg all the way around back of him ...
Page 59
... everything is always worked out to the split - second . It was very funny , but also very true , and even touching at times . To continue the search for an explanation of other preva- lent attitudes toward the Method I'd like to check ...
... everything is always worked out to the split - second . It was very funny , but also very true , and even touching at times . To continue the search for an explanation of other preva- lent attitudes toward the Method I'd like to check ...
Page 118
... everything goes along fine and she gets a big hand at the end of the scene . Then comes the end of the second act and it turns out that dear Ruth is a born murderess ! But nobody believes it ! The audience has to be convinced that this ...
... everything goes along fine and she gets a big hand at the end of the scene . Then comes the end of the second act and it turns out that dear Ruth is a born murderess ! But nobody believes it ! The audience has to be convinced that this ...
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