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 46
... problem of the play , the " spine , " was , " how to deal with the problems of life in a world where success is the criterion . " Now everything in the play was about that in one way or another and each character in the play had a ...
... problem of the play , the " spine , " was , " how to deal with the problems of life in a world where success is the criterion . " Now everything in the play was about that in one way or another and each character in the play had a ...
Page 68
... problem when you try out that tender play in the Shubert Theatre in Philadelphia ! There are dangers likewise in ... problems of performing in public . 68 Then again , how often , in criticism , does an instructor say , " You are ...
... problem when you try out that tender play in the Shubert Theatre in Philadelphia ! There are dangers likewise in ... problems of performing in public . 68 Then again , how often , in criticism , does an instructor say , " You are ...
Page 79
... problem ! Sometimes the exigencies of the mo- ment demand that a line be said in a certain way : let's say loudly ... problem . I use the word " problem " here to mean the intention of the scene . As you improvise , you must ob- serve ...
... problem ! Sometimes the exigencies of the mo- ment demand that a line be said in a certain way : let's say loudly ... problem . I use the word " problem " here to mean the intention of the scene . As you improvise , you must ob- serve ...
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