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 25
... fact , this lecture will be the most technical of all . Once this is over , we can get back again to the fun of loose opinion ! At any rate , this is simply an attempt to put down in some or- ganized form what good actors are doing when ...
... fact , this lecture will be the most technical of all . Once this is over , we can get back again to the fun of loose opinion ! At any rate , this is simply an attempt to put down in some or- ganized form what good actors are doing when ...
Page 87
... fact , ' and genuine reality do not exist on the stage ! Reality is not art . This last , by its very nature , needs artistic invention , which means first of all the work of an author . The actor's task and his creative technique ...
... fact , ' and genuine reality do not exist on the stage ! Reality is not art . This last , by its very nature , needs artistic invention , which means first of all the work of an author . The actor's task and his creative technique ...
Page 155
... fact that he also imag- ined that Rosencrantz and Guildenstern were his friends . S : But Hamlet never felt they were his friends . People tried to portray them this way on the stage , but it's quite wrong . He loved only Horatio . C ...
... fact that he also imag- ined that Rosencrantz and Guildenstern were his friends . S : But Hamlet never felt they were his friends . People tried to portray them this way on the stage , but it's quite wrong . He loved only Horatio . C ...
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 FĂ©lia 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