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 30
... intention , therefore is quite different this time . In the first instance he wished to convey his deep affection for this girl ; with the second approach he wished to let that person know he despised her . The reading of the words ...
... intention , therefore is quite different this time . In the first instance he wished to convey his deep affection for this girl ; with the second approach he wished to let that person know he despised her . The reading of the words ...
Page 33
... intention . Your wish " to let him know you always sus- pected him " ( your intention ) might start with the line , " I knew you did it , " and continue through for the next six lines of your part . It might last for just that one line ...
... intention . Your wish " to let him know you always sus- pected him " ( your intention ) might start with the line , " I knew you did it , " and continue through for the next six lines of your part . It might last for just that one line ...
Page 146
... intentions , but you should write them down in some definite way . You should know exactly where each section begins ... intention starts . Through that whole section in between you suspect everything she says of being untrue . You ought ...
... intentions , but you should write them down in some definite way . You should know exactly where each section begins ... intention starts . Through that whole section in between you suspect everything she says of being untrue . You ought ...
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