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 43
... sounds ) . " Isn't that nicely put ? We should do a lot about this little num- ber . Aside from the matter of pronunciation , there is the fact of what the use of the sound of words can give us . Some sounds are beautiful , some are ...
... sounds ) . " Isn't that nicely put ? We should do a lot about this little num- ber . Aside from the matter of pronunciation , there is the fact of what the use of the sound of words can give us . Some sounds are beautiful , some are ...
Page 90
... sound , when I left the theatre I walked around for two hours before I could go home . I didn't even notice that it was drizzling . Now he didn't " feel , " psychologically speaking , at all . When he was sup- posed to be crying he took ...
... sound , when I left the theatre I walked around for two hours before I could go home . I didn't even notice that it was drizzling . Now he didn't " feel , " psychologically speaking , at all . When he was sup- posed to be crying he took ...
Page 100
... sound heart in a sound body . As there is choice always in all elements of art , so too I think there must be choice in emotion if we are to have real truth . Here I refer not only to choice in relation to style , but even to choice ...
... sound heart in a sound body . As there is choice always in all elements of art , so too I think there must be choice in emotion if we are to have real truth . Here I refer not only to choice in relation to style , but even to choice ...
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