Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 44
But even failing anything as specific as that ( you don't have to become an accomplished ballet or tap dancer ) , I think any knowledge of dancing that have will help you in the creation of characters which require some sense of ...
But even failing anything as specific as that ( you don't have to become an accomplished ballet or tap dancer ) , I think any knowledge of dancing that have will help you in the creation of characters which require some sense of ...
Page 52
To test myself as to how technique has served me as I direct , I tried this week to think of specific moments when I had to have a certain effect ; times when , as an artist , I was obsessed with a moment and it had to be done a ...
To test myself as to how technique has served me as I direct , I tried this week to think of specific moments when I had to have a certain effect ; times when , as an artist , I was obsessed with a moment and it had to be done a ...
Page 111
If , for example , you find that the specific line where it was decided you should " start to suspect him ” is actually three lines before you challenge him ( in the dialogue ) and you have been suspecting him on the challenging line ...
If , for example , you find that the specific line where it was decided you should " start to suspect him ” is actually three lines before you challenge him ( in the dialogue ) and you have been suspecting him on the challenging line ...
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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Common terms and phrases
able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create deal directed director discuss don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear idea imagination important inner intention keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technique tell theatre theatrical thing thought tion true truth understand voice walking week whole