Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 27
Being on this side of the chart , this means inner movement . Twentyfive— “ Theatrical personality and scenic sympathy ( taking away the bad things that make bad personalities ) ; " Twenty - six— “ Ethical discipline ( props , makeup ...
Being on this side of the chart , this means inner movement . Twentyfive— “ Theatrical personality and scenic sympathy ( taking away the bad things that make bad personalities ) ; " Twenty - six— “ Ethical discipline ( props , makeup ...
Page 39
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” ( again , he means inner movement ) . It is the knowledge that a certain section , a cer- ; tain intention is over , that the next one is beginning ...
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” ( again , he means inner movement ) . It is the knowledge that a certain section , a cer- ; tain intention is over , that the next one is beginning ...
Page 44
We may even start to get some plays written in which we can use such interesting movement . Thirty - six . “ Fencing . ” What has that to do with acting ? Well , when I was a kid in the Civic Repertory Theatre we studied it .
We may even start to get some plays written in which we can use such interesting movement . Thirty - six . “ Fencing . ” What has that to do with acting ? Well , when I was a kid in the Civic Repertory Theatre we studied it .
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning 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 idea imagination important inner intention interesting keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never once 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