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 58
... performance I did something different with my hand . Suddenly I looked at it and thought , ' Oh , oh , that's wrong at this moment . I shouldn't do it , ' and it stopped me cold . It killed my sense of fun . ” And he blamed his studying ...
... performance I did something different with my hand . Suddenly I looked at it and thought , ' Oh , oh , that's wrong at this moment . I shouldn't do it , ' and it stopped me cold . It killed my sense of fun . ” And he blamed his studying ...
Page 110
... performance . It will also assist you in keeping up your performance . When it 110.
... performance . It will also assist you in keeping up your performance . When it 110.
Page 111
... performances . You are not start- ing to suspect him in the right place any more . You are not doing it until you face him three lines later . That little bit has somehow slipped out of your performance . And it is this successful scene ...
... performances . You are not start- ing to suspect him in the right place any more . You are not doing it until you face him three lines later . That little bit has somehow slipped out of your performance . And it is this successful scene ...
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