Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 110
All during rehearsal I keep saying , “ Write your intentions down ! ” But no one
ever brings a pencil . We then give out pencils . I say , “ I know you remember
them now , but you won ' t later . They will slip away . Write them down ! You have
your ...
All during rehearsal I keep saying , “ Write your intentions down ! ” But no one
ever brings a pencil . We then give out pencils . I say , “ I know you remember
them now , but you won ' t later . They will slip away . Write them down ! You have
your ...
Page 112
That might keep this from being merely theoretic . Keep in mind now that we are
starting from the sense of the whole and working right down to the specific
moments I will pick out of the play . I first said to myself , “ What is it about ? What
is the ...
That might keep this from being merely theoretic . Keep in mind now that we are
starting from the sense of the whole and working right down to the specific
moments I will pick out of the play . I first said to myself , “ What is it about ? What
is the ...
Page 139
I also recommend this as something for you as actors to know , whether or not
you are engaged with directors who work this way ; because if you have some
feeling about the orderliness of procedure , it can help you to keep your own work
...
I also recommend this as something for you as actors to know , whether or not
you are engaged with directors who work this way ; because if you have some
feeling about the orderliness of procedure , it can help you to keep your own work
...
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Contents
INTRODUCTION by Harold Clurman | 3 |
Background | 9 |
The Method Itself SECOND LECTURE | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning believe called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention interesting 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