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 12
... never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly " theatrical . " It was a real physical thrill . I remem- ber ...
... never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly " theatrical . " It was a real physical thrill . I remem- ber ...
Page 52
... never return to his original position . He'd sit on his haunches to get comfortable ; or if he did everything else right that leg never got all the way around back again . I kept saying , " Get the leg back ! " I would not rest unless ...
... never return to his original position . He'd sit on his haunches to get comfortable ; or if he did everything else right that leg never got all the way around back again . I kept saying , " Get the leg back ! " I would not rest unless ...
Page 117
... never exactly the same . And yet , for our purposes , I would say that she was always the same because her sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play was complete , exactly ...
... never exactly the same . And yet , for our purposes , I would say that she was always the same because her sense of form was constant . Her understand- ing of the woman was complete , her understanding of the play was complete , exactly ...
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