Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 82
So , too , there is no reason why that same kind of work should prevent you from
acting well . A lot of talk is heard about “ animal exercises ” that go on in acting
workshops — somebody is “ making like a monkey . ” Well , the fact of the matter
is ...
So , too , there is no reason why that same kind of work should prevent you from
acting well . A lot of talk is heard about “ animal exercises ” that go on in acting
workshops — somebody is “ making like a monkey . ” Well , the fact of the matter
is ...
Page 83
I have seen people do this kind of exercise for the purpose of simply stimulating
the imagination of the actor generally and I think that is where all the funny stories
come from . I agree that you can go too far in that sort of thing if you never apply ...
I have seen people do this kind of exercise for the purpose of simply stimulating
the imagination of the actor generally and I think that is where all the funny stories
come from . I agree that you can go too far in that sort of thing if you never apply ...
Page 163
I felt it was wrong to condone the " indicated , ” unfortunately sometimes effective ,
kind of acting people indulge in where they are simply imitating feeling ; but it
was also wrong to call that kind of real , but personally - felt and inartistically ...
I felt it was wrong to condone the " indicated , ” unfortunately sometimes effective ,
kind of acting people indulge in where they are simply imitating feeling ; but it
was also wrong to call that kind of real , but personally - felt and inartistically ...
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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