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 41
... rhythm , he also felt that finding the suitable tempo - rhythm of a character will lead you to feel correctly in the part , too . It is a double process . Any of you who were lucky enough to have seen Michael Chekhov in his uncle's one ...
... rhythm , he also felt that finding the suitable tempo - rhythm of a character will lead you to feel correctly in the part , too . It is a double process . Any of you who were lucky enough to have seen Michael Chekhov in his uncle's one ...
Page 42
... rhythm . " Twenty - nine . This is re- lated to number Twenty - seven . Just as our " feeling " affects the tempo and rhythm of our delivery , so our sense of ex- ternal tempo and rhythm connects with our emotion . Act- ing training ...
... rhythm . " Twenty - nine . This is re- lated to number Twenty - seven . Just as our " feeling " affects the tempo and rhythm of our delivery , so our sense of ex- ternal tempo and rhythm connects with our emotion . Act- ing training ...
Page 62
... rhythm of speech facili- tates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear speech . Of course , all this occurs in the cases where pre- cision of speech is thoroughly ...
... rhythm of speech facili- tates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear speech . Of course , all this occurs in the cases where pre- cision of speech is thoroughly ...
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