Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 7
The second group we ' ll call the “ Angry Knockers . ” These often know nothing
about it at all but somehow feel left out of something . Then there ' s the very large
third group — the “ Giddy Misconceivers . ” They possibly attended one class ...
The second group we ' ll call the “ Angry Knockers . ” These often know nothing
about it at all but somehow feel left out of something . Then there ' s the very large
third group — the “ Giddy Misconceivers . ” They possibly attended one class ...
Page 15
Then , in the early thirties , some of these people , and others , started the Group
Theatre . That theatre went on for ten years and its actors studied with Strasberg
and Harold Clurman . Those actors developed into teachers who then formed a ...
Then , in the early thirties , some of these people , and others , started the Group
Theatre . That theatre went on for ten years and its actors studied with Strasberg
and Harold Clurman . Those actors developed into teachers who then formed a ...
Page 161
Then the last group were people who had a normal interest in all theatre
techniques , of which Stanislavski ' s System wa one . They were curious about it .
They were interested in it because it is part of their profession . Or if they did know
...
Then the last group were people who had a normal interest in all theatre
techniques , of which Stanislavski ' s System wa one . They were curious about it .
They were interested in it because it is part of their profession . Or if they did know
...
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able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create dance dancer 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 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