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 x
... realistic school of dramaturgy and the Method , the Method relates to every kind of acting - good acting - and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the ...
... realistic school of dramaturgy and the Method , the Method relates to every kind of acting - good acting - and not narrowly to realistic acting as such . It cannot be emphasized too much that the Method is not a style . Style in the ...
Page 109
... realistic theatre we are recreating life and are less concerned with form . I contend that realism itself is a form , one of the theatrical forms , and that all art , even photography , has form . Alfred Stieglitz , who is considered by ...
... realistic theatre we are recreating life and are less concerned with form . I contend that realism itself is a form , one of the theatrical forms , and that all art , even photography , has form . Alfred Stieglitz , who is considered by ...
Page 164
... realistic theatre and I said that just because it was realistic , that did not mean it was formless . There is a definite realistic form that exists and I tried to point out what that form was — the successful scene - by - scene solving ...
... realistic theatre and I said that just because it was realistic , that did not mean it was formless . There is a definite realistic form that exists and I tried to point out what that form was — the successful scene - by - scene solving ...
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