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 42
... sense of time and sense of rhythm . It gets pretty tough in re- hearsals when the point of the scene hangs on an actor's having a sense of rhythm and being able to come in on a certain swell in the action just right , on the beat , and ...
... sense of time and sense of rhythm . It gets pretty tough in re- hearsals when the point of the scene hangs on an actor's having a sense of rhythm and being able to come in on a certain swell in the action just right , on the beat , and ...
Page 105
... sense of truth which I think we've belabored enough ) the following three aspects . First , a sense of the whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in ...
... sense of truth which I think we've belabored enough ) the following three aspects . First , a sense of the whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in ...
Page 108
... sense of balance in the problem of form . All the great artists I've witnessed in any field have had this sense of balance . They were great equalizers . They saw all around a problem , not just one side of it . I am reminded of the ...
... sense of balance in the problem of form . All the great artists I've witnessed in any field have had this sense of balance . They were great equalizers . They saw all around a problem , not just one side of it . I am reminded of the ...
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