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
... walking . " Across the top Stanislavski has drawn a line with a letter " A " encompassing the whole process which on this chart is called " the Transaction " and which , when accomplished , equals " B , " called here the " Spine " ( in ...
... walking . " Across the top Stanislavski has drawn a line with a letter " A " encompassing the whole process which on this chart is called " the Transaction " and which , when accomplished , equals " B , " called here the " Spine " ( in ...
Page 45
... walking perfectly fine a sec- ond ago offstage , assume a stilted gait when they come on . ( This " stagey " walk also could come from a wrong attitude toward acting in general . ) To recapture simple , beautiful walking onstage ...
... walking perfectly fine a sec- ond ago offstage , assume a stilted gait when they come on . ( This " stagey " walk also could come from a wrong attitude toward acting in general . ) To recapture simple , beautiful walking onstage ...
Page 46
... walking simply and beautifully on the stage . Of course then , if you want to add some characteristic element of walking , you have your basis . Two terms that are still undefined are " spine " and " long- distance mood , " the last not ...
... walking simply and beautifully on the stage . Of course then , if you want to add some characteristic element of walking , you have your basis . Two terms that are still undefined are " spine " and " long- distance mood , " the last 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