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 74
... naturally in work . We must search for new aspects of the idea too , and in doing so , we pay real homage to the innovator who was always probably do- ing the same thing . We must also study all new techniques , thus constantly ...
... naturally in work . We must search for new aspects of the idea too , and in doing so , we pay real homage to the innovator who was always probably do- ing the same thing . We must also study all new techniques , thus constantly ...
Page 142
... naturally , each person has his own first impression . Beginnings are ex- tremely important , and I think if you have one impression instead of twelve you are sure to get off to a better start . Also , the actors are much more apt to ...
... naturally , each person has his own first impression . Beginnings are ex- tremely important , and I think if you have one impression instead of twelve you are sure to get off to a better start . Also , the actors are much more apt to ...
Page 151
... naturally spend a larger proportion of your allotted rehearsal time -whether that be four weeks , two , or one - on the inner problems because you know you are going to accomplish the physical staging comparatively quickly . If , on the ...
... naturally spend a larger proportion of your allotted rehearsal time -whether that be four weeks , two , or one - on the inner problems because you know you are going to accomplish the physical staging comparatively quickly . If , on the ...
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