Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 27
Being on this side of the chart , this means inner movement . Twentyfive— “ Theatrical personality and scenic sympathy ( taking away the bad things that make bad personalities ) ; " Twenty - six— “ Ethical discipline ( props , makeup ...
Being on this side of the chart , this means inner movement . Twentyfive— “ Theatrical personality and scenic sympathy ( taking away the bad things that make bad personalities ) ; " Twenty - six— “ Ethical discipline ( props , makeup ...
Page 39
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” ( again , he means inner movement ) . It is the knowledge that a certain section , a cer- ; tain intention is over , that the next one is beginning ...
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” ( again , he means inner movement ) . It is the knowledge that a certain section , a cer- ; tain intention is over , that the next one is beginning ...
Page 79
One can always find a justification that will permit one to do what is wanted by the production and still satisfy the inner man . The next subject of the Method often misinterpreted is improvisation . Improvisation , defined simply ...
One can always find a justification that will permit one to do what is wanted by the production and still satisfy the inner man . The next subject of the Method often misinterpreted is improvisation . Improvisation , defined simply ...
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create deal directed director discuss don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear idea imagination important inner intention keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technique tell theatre theatrical thing thought tion true truth understand voice walking week whole