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 28
... means is that when you are expressing yourself in a part , somehow all your reactions to life , all the ideas and feelings that you have stored up , come out in one way or another . Therefore , you should work to enlarge your knowledge ...
... means is that when you are expressing yourself in a part , somehow all your reactions to life , all the ideas and feelings that you have stored up , come out in one way or another . Therefore , you should work to enlarge your knowledge ...
Page 36
... mean that . He means to be able , by your choice , and with your will , to focus your attention wherever you wish ; it is that which helps determine the importance of what is happening in a scene . For example , I ( in the character of ...
... mean that . He means to be able , by your choice , and with your will , to focus your attention wherever you wish ; it is that which helps determine the importance of what is happening in a scene . For example , I ( in the character of ...
Page 40
... means the study of yourself , which so few people do , in order to know what you bring onto the stage as a ... means fast or slow , and " rhythm ” means the inner beat . This combination - term , Tempo- rhythm , refers to something ...
... means the study of yourself , which so few people do , in order to know what you bring onto the stage as a ... means fast or slow , and " rhythm ” means the inner beat . This combination - term , Tempo- rhythm , refers to something ...
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