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 39
... ment ) . It is the knowledge that a certain section , a cer- tain intention is over , that the next one is beginning , and just where that point comes in the part . It doesn't always come where the dialogue seems to indicate ...
... ment ) . It is the knowledge that a certain section , a cer- tain intention is over , that the next one is beginning , and just where that point comes in the part . It doesn't always come where the dialogue seems to indicate ...
Page 149
... ment you realize she doesn't love you , if for some reason you have to be looking that way . It can be a reason quite apart from anything you could have imagined . It could you have to do with proposed lighting or scenery . Or 149.
... ment you realize she doesn't love you , if for some reason you have to be looking that way . It can be a reason quite apart from anything you could have imagined . It could you have to do with proposed lighting or scenery . Or 149.
Page 158
... ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the whole scene takes place to the right of the audience . I should think that as the conversation nears ...
... ment . After all , there is no action here , only conversation . S : And what is Laertes to do when he has to exit ? C : I think the whole scene takes place to the right of the audience . I should think that as the conversation nears ...
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 FĂ©lia 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