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 12
... theatrical . " It was a real physical thrill . I remem- ber it clearly . I can even hear the sound in my ear to this day . The effect that Ben - Ami made with different means was , I maintain , theatrical too . But it was not only physi ...
... theatrical . " It was a real physical thrill . I remem- ber it clearly . I can even hear the sound in my ear to this day . The effect that Ben - Ami made with different means was , I maintain , theatrical too . But it was not only physi ...
Page 18
... theatrical , " and " you takes your your choice . " When Bernard Shaw wrote his famous essay about Duse and Bernhardt , which I am not going to read - one always reads it at a time like this , but I assume you've all read it in his ...
... theatrical , " and " you takes your your choice . " When Bernard Shaw wrote his famous essay about Duse and Bernhardt , which I am not going to read - one always reads it at a time like this , but I assume you've all read it in his ...
Page 71
... theatrical . The majority of them were the old well - known artificial habits , filled with theatricality and theatrical stencils . They were accepted to be that New of which the system talked . But the continu- ous exercises , like ...
... theatrical . The majority of them were the old well - known artificial habits , filled with theatricality and theatrical stencils . They were accepted to be that New of which the system talked . But the continu- ous exercises , like ...
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