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 26
... Mind , Will and Emotion . " Mind is the least capricious ; Will is less capricious ; and Emotion is the most capricious . Getting frightened ? Now come the various pipes , from Eleven to Forty . Eleven to Twenty - seven all deal with ...
... Mind , Will and Emotion . " Mind is the least capricious ; Will is less capricious ; and Emotion is the most capricious . Getting frightened ? Now come the various pipes , from Eleven to Forty . Eleven to Twenty - seven all deal with ...
Page 29
... Mind , Will and Feeling ( Emotion ) . The first gives us the ideas and the understanding , the second gives us the power to execute our wishes , or problems , and the third fills us with the fuel of expression . The Mind is the easiest ...
... Mind , Will and Feeling ( Emotion ) . The first gives us the ideas and the understanding , the second gives us the power to execute our wishes , or problems , and the third fills us with the fuel of expression . The Mind is the easiest ...
Page 95
... mind , which includes the understanding of the whole play , the situations and the characters , and if with your will ( if you are really talking and listening ) you fully execute exciting intentions , then the proper emotion should be ...
... mind , which includes the understanding of the whole play , the situations and the characters , and if with your will ( if you are really talking and listening ) you fully execute exciting intentions , then the proper emotion should be ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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Common terms and phrases
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