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 5
... voice , voice - and more voice . " George Henry Lewes , the eminent English critic , who saw Salvini toward the end of his career in Othello , said that in certain scenes he felt Salvini was the greatest speaker he had ever heard ...
... voice , voice - and more voice . " George Henry Lewes , the eminent English critic , who saw Salvini toward the end of his career in Othello , said that in certain scenes he felt Salvini was the greatest speaker he had ever heard ...
Page 43
... Voice placement is extremely impor- tant . It is a great irritant , both to artist and public , if the voice is placed badly . But not only is all this important for good listening and intelligibility , but you should be able to place ...
... Voice placement is extremely impor- tant . It is a great irritant , both to artist and public , if the voice is placed badly . But not only is all this important for good listening and intelligibility , but you should be able to place ...
Page 84
... voice ? Is it a pretty sound with good diction and emptiness inside ? No. I think Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production that was ...
... voice ? Is it a pretty sound with good diction and emptiness inside ? No. I think Laurette Taylor had a beautiful voice ( I have a phonograph record of her , too , to prove it ) . It was a very lovely and easy voice production that was ...
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