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 57
... particular which had been very much emphasized in the early thirties was the " affective mem- ory . " It was subsequently found that one's insides could often be attuned by more simple and more immediate means . For example , the ideas ...
... particular which had been very much emphasized in the early thirties was the " affective mem- ory . " It was subsequently found that one's insides could often be attuned by more simple and more immediate means . For example , the ideas ...
Page 88
... particular actor involved ; that is , the truth near- est to his own particular psychology ? Is that all that is meant by it ? If so , isn't that truth just a partial truth ? And how true is a partial truth in life ? Are we to be ...
... particular actor involved ; that is , the truth near- est to his own particular psychology ? Is that all that is meant by it ? If so , isn't that truth just a partial truth ? And how true is a partial truth in life ? Are we to be ...
Page 98
... particular play - which might be , for example , that the characters do not live in the Bronx , they live in 17th Century France ; that the author of the play has written it in a certain style which must find its counterpart in the ...
... particular play - which might be , for example , that the characters do not live in the Bronx , they live in 17th Century France ; that the author of the play has written it in a certain style which must find its counterpart in 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