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 26
... feeling or passion ( the resemblance to Truth under the given circumstances ) . " Four- " The crea- tion of life , nature , or true feeling , with the help of con- scious technique ( beats ) which arouses the subconscious ; ' Five " The ...
... feeling or passion ( the resemblance to Truth under the given circumstances ) . " Four- " The crea- tion of life , nature , or true feeling , with the help of con- scious technique ( beats ) which arouses the subconscious ; ' Five " The ...
Page 63
... feeling ; it chokes up your voice , your production . Yet the greatest operatic singers in history were all " true feelers . ” The famous singer Cha- liapin was a mountain of feeling . In our own time Boris Christoff , whom I've heard ...
... feeling ; it chokes up your voice , your production . Yet the greatest operatic singers in history were all " true feelers . ” The famous singer Cha- liapin was a mountain of feeling . In our own time Boris Christoff , whom I've heard ...
Page 100
... feeling of one character is different from an- other , and if you are always feeling truthfully as you feel , you may hit your character only intermittently , if at all . If a certain character is supposed to say , unappreciatively and ...
... feeling of one character is different from an- other , and if you are always feeling truthfully as you feel , you may hit your character only intermittently , if at all . If a certain character is supposed to say , unappreciatively and ...
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