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 13
... physical pain ; that much at least must be in it , outside of everything else . Now what fear do I have of some physical shock or pain ? And here's where you're going to laugh . Because I wanted it to be a kind of growing fear as I got ...
... physical pain ; that much at least must be in it , outside of everything else . Now what fear do I have of some physical shock or pain ? And here's where you're going to laugh . Because I wanted it to be a kind of growing fear as I got ...
Page 80
... physical ele- ments of characterization you simply can't get from the play itself . Suppose you had to play a coal ... physically ; or mentally , for 80.
... physical ele- ments of characterization you simply can't get from the play itself . Suppose you had to play a coal ... physically ; or mentally , for 80.
Page 117
... physical means of expressing this inner con- tent , the special problems of Style will be taken up next week . [ Question from the audience ] : Do you as a director look for Method actors in casting ? [ Answer ] : Well , I can an- swer ...
... physical means of expressing this inner con- tent , the special problems of Style will be taken up next week . [ Question from the audience ] : Do you as a director look for Method actors in casting ? [ Answer ] : Well , I can an- swer ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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Common terms and phrases
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