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 35
... recreate in your mind the physical circumstances of that moment ( where you were , who was there , what happened , the time of day , the place , surroundings ) and start reliving it — not trying to remember how you felt , a lot of 35.
... recreate in your mind the physical circumstances of that moment ( where you were , who was there , what happened , the time of day , the place , surroundings ) and start reliving it — not trying to remember how you felt , a lot of 35.
Page 36
... happened and sud- denly you start to be moved again by the experience . Stanislavski tried to work this out so that ... happening in a scene . For example , I ( in the character of a lecturer ) am here putting my concentration at this ...
... happened and sud- denly you start to be moved again by the experience . Stanislavski tried to work this out so that ... happening in a scene . For example , I ( in the character of a lecturer ) am here putting my concentration at this ...
Page 96
... happened that there was not much preparation for it in the scene . I said to her , “ I don't know what you are going to do in this moment . You are on the stage , it happens quickly and there you are faced with it . It should be a ...
... happened that there was not much preparation for it in the scene . I said to her , “ I don't know what you are going to do in this moment . You are on the stage , it happens quickly and there you are faced with it . It should be a ...
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