Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 63
But speech can be beautified , not destroyed , by true feeling ! What ' s more ,
there are many non - Method actors who mumble ; and I can also give you
examples of actors who do nothing inconsistent with Stanislavski ' s aims and
who , no ...
But speech can be beautified , not destroyed , by true feeling ! What ' s more ,
there are many non - Method actors who mumble ; and I can also give you
examples of actors who do nothing inconsistent with Stanislavski ' s aims and
who , no ...
Page 88
And how true is a partial truth in life ? Are we to be comfortable , true - feeling
actors or are we to be artists who use our true feelings as one of the tools of our
craft to create with ? The first problem in discussing this subject is to overcome
the ...
And how true is a partial truth in life ? Are we to be comfortable , true - feeling
actors or are we to be artists who use our true feelings as one of the tools of our
craft to create with ? The first problem in discussing this subject is to overcome
the ...
Page 109
substance , if we rightly understand that , will correspond to the real Nature and
purport of it , will be true , good ; forms which are consciously put round a
substance , bad . I invite you to reflect on this . It distinguishes true from false in ...
substance , if we rightly understand that , will correspond to the real Nature and
purport of it , will be true , good ; forms which are consciously put round a
substance , bad . I invite you to reflect on this . It distinguishes true from false in ...
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Contents
INTRODUCTION by Harold Clurman | 3 |
Background | 9 |
The Method Itself SECOND LECTURE | 51 |
Copyright | |
5 other sections not shown
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Common terms and phrases
able acting actors actual answer artist attitude audience beautiful become beginning believe called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear heard idea imagination important inner intention interesting 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