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 38
... heard Jennie Tourel . How she sings ! That woman ! Such style ! It was GREAT !!! " The way I wailed , anyone not understanding English might think I was describing an accident . I was " despairing " at how great an artist can be ...
... heard Jennie Tourel . How she sings ! That woman ! Such style ! It was GREAT !!! " The way I wailed , anyone not understanding English might think I was describing an accident . I was " despairing " at how great an artist can be ...
Page 41
... heard a song many times and then you suddenly hear it played in a certain tempo and it moves you . It may be that that is the way in which you first heard it under certain emotional circumstances and that same particular beat helps to ...
... heard a song many times and then you suddenly hear it played in a certain tempo and it moves you . It may be that that is the way in which you first heard it under certain emotional circumstances and that same particular beat helps to ...
Page 142
... heard the play completely . I find that the first rehearsal is usually strained for everybody and if it's over before the actors have worked , you are into your second rehearsal in a good , relaxed way . The second rehearsal , naturally ...
... heard the play completely . I find that the first rehearsal is usually strained for everybody and if it's over before the actors have worked , you are into your second rehearsal in a good , relaxed way . The second rehearsal , naturally ...
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