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 27
... tion ; " Twenty - three- " The control that removes clichés ( the judge of yourself ) ; " Twenty - four- " The finishing of problems ( beats ) , and mastery in movement . " Being on this side of the chart , this means inner movement ...
... tion ; " Twenty - three- " The control that removes clichés ( the judge of yourself ) ; " Twenty - four- " The finishing of problems ( beats ) , and mastery in movement . " Being on this side of the chart , this means inner movement ...
Page 36
... tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you for a long time . The exercise gets simpler as you do it over and again ; and , finally , you only need ...
... tion and you can bring it back successfully three times in a row , it is quite possible you have something that will work for you for a long time . The exercise gets simpler as you do it over and again ; and , finally , you only need ...
Page 79
... tion of the scenery , or what not . But our purist actor says that anything over a whisper here will violate his true feeling ! What about all the other truths present ? A truth- ful moment on the stage is made of many components . It ...
... tion of the scenery , or what not . But our purist actor says that anything over a whisper here will violate his true feeling ! What about all the other truths present ? A truth- ful moment on the stage is made of many components . It ...
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