Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 30
His intention , therefore is quite different this time . In the first instance he wished to convey his deep affection for this girl ; with the second approach he wished to let that person know he despised her .
His intention , therefore is quite different this time . In the first instance he wished to convey his deep affection for this girl ; with the second approach he wished to let that person know he despised her .
Page 119
casting the You should look for the essential quality of the part in person to play it . This is aside from physical things . What really is going to tell the story ? If any of you are old enough to have seen Jeanne Eagels in Rain ...
casting the You should look for the essential quality of the part in person to play it . This is aside from physical things . What really is going to tell the story ? If any of you are old enough to have seen Jeanne Eagels in Rain ...
Page 141
For the first rehearsal , I always think it is a good plan to have one person read the play to the cast . I have followed that plan wherever feasible . Of course there are certain possible pitfalls in it : if the person reading is a ...
For the first rehearsal , I always think it is a good plan to have one person read the play to the cast . I have followed that plan wherever feasible . Of course there are certain possible pitfalls in it : if the person reading is a ...
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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Common terms and phrases
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