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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... theatre around 1911 in the heyday of the realistic play : Chekhov , Gorki , et al , and to the American theatre be- tween 1925-35 when plays by Sidney Kingsley , Clifford Odets and kindred playwrights were attracting special at- tention ...
... theatre around 1911 in the heyday of the realistic play : Chekhov , Gorki , et al , and to the American theatre be- tween 1925-35 when plays by Sidney Kingsley , Clifford Odets and kindred playwrights were attracting special at- tention ...
Page 126
... theatre poetry is concerned not only with poetic words but with a kind of unification of all the theatre arts , of which words are only one element . One could even do without them , and there has been theatre without words . Now you ...
... theatre poetry is concerned not only with poetic words but with a kind of unification of all the theatre arts , of which words are only one element . One could even do without them , and there has been theatre without words . Now you ...
Page 164
... theatre , rather than the world of acting technique alone ? This would broaden our very attitude toward actual acting problems . We spoke about the form of realistic theatre and I said that just because it was realistic , that did not ...
... theatre , rather than the world of acting technique alone ? This would broaden our very attitude toward actual acting problems . We spoke about the form of realistic theatre and I said that just because it was realistic , that did not ...
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