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 36
... possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you ...
... possible that a feeling similar to what you felt at that time will recur . If it was a very strong emo- tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you ...
Page 149
... possible for you to execute all sorts of things you could never have imagined possible earlier in rehearsal . You'll find , for example , you can be looking away from your sweetheart , instead of at her , at the mo- ment you realize she ...
... possible for you to execute all sorts of things you could never have imagined possible earlier in rehearsal . You'll find , for example , you can be looking away from your sweetheart , instead of at her , at the mo- ment you realize she ...
Page 160
... possible to translate them into movements and acting only on con- dition that these poses and movements are as few as possible . Now I want to take the last few minutes to sum up the points I have tried to make in these past weeks ...
... possible to translate them into movements and acting only on con- dition that these poses and movements are as few as possible . Now I want to take the last few minutes to sum up the points I have tried to make in these past weeks ...
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