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 9
... remember what he said , but I remember her re- plying , " Oh , that's what they call ' emotional memory , ' isn't it ? " It meant nothing to me at the time . Later I realized that what they were referring to was a Stanislavski term ...
... remember what he said , but I remember her re- plying , " Oh , that's what they call ' emotional memory , ' isn't it ? " It meant nothing to me at the time . Later I realized that what they were referring to was a Stanislavski term ...
Page 35
... remember and recreate in your mind the physical circumstances of that moment ( where you were , who was there , what happened , the time of day , the place , surroundings ) and start reliving it — not trying to remember how you felt , a ...
... remember and recreate in your mind the physical circumstances of that moment ( where you were , who was there , what happened , the time of day , the place , surroundings ) and start reliving it — not trying to remember how you felt , a ...
Page 73
... remember that she stood perfectly still on the stage the entire time ; she didn't gesture at all as she spoke about the various things she felt were important : imagination , etc. At the very end , her closing remark was , " But above ...
... remember that she stood perfectly still on the stage the entire time ; she didn't gesture at all as she spoke about the various things she felt were important : imagination , etc. At the very end , her closing remark was , " But above ...
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