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 15
... started the Group Theatre . That theatre went on for ten years and its actors studied with Strasberg and Harold Clurman . Those actors developed into teachers who then formed a studio and taught other actors . In that studio Sanford ...
... started the Group Theatre . That theatre went on for ten years and its actors studied with Strasberg and Harold Clurman . Those actors developed into teachers who then formed a studio and taught other actors . In that studio Sanford ...
Page 59
... started from that with no psychological idea— just the painting . He studied it and tried to recreate , with his body , the exact figure of the shepherd boy - the stance , the look , everything . Then he started to make it move ; he ...
... started from that with no psychological idea— just the painting . He studied it and tried to recreate , with his body , the exact figure of the shepherd boy - the stance , the look , everything . Then he started to make it move ; he ...
Page 112
... started me to thinking along another line instead of all the funny ways in which the idea could be dramatized . Then I said , " It looks to me as if , to bring out this point , there are two lines that develop and cross in the course of ...
... started me to thinking along another line instead of all the funny ways in which the idea could be dramatized . Then I said , " It looks to me as if , to bring out this point , there are two lines that develop and cross in the course of ...
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