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 92
... phony ? I am a practicing director . I direct something every year and I am constantly faced with somebody saying , “ Please don't tell me how to read it . Don't give me the line read- ing , it will make me phony . " All in the name of ...
... phony ? I am a practicing director . I direct something every year and I am constantly faced with somebody saying , “ Please don't tell me how to read it . Don't give me the line read- ing , it will make me phony . " All in the name of ...
Page 94
... phony . By the way , speaking of phoniness , I think there is noth- ing as phony as the prevalent fear of being phony ( on the stage ) . It comes from the avoidance of certain other truths ; truths which are the very foundations of the ...
... phony . By the way , speaking of phoniness , I think there is noth- ing as phony as the prevalent fear of being phony ( on the stage ) . It comes from the avoidance of certain other truths ; truths which are the very foundations of the ...
Page 165
... phony has become one of the phoniest things in the theatre . And I would like those who call people interested in the Stani- slavski , or any other method , phony , to save their energy to study their own insides . Let them find out if ...
... phony has become one of the phoniest things in the theatre . And I would like those who call people interested in the Stani- slavski , or any other method , phony , to save their energy to study their own insides . Let them find out if ...
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