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
... 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 . Parenthetically , it is interesting , knowing Stanislavski's love of truth , that Lewes also said ...
... 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 . Parenthetically , it is interesting , knowing Stanislavski's love of truth , that Lewes also said ...
Page 6
... Salvini , but also by the remarkably clear - cut expressive tempo - rhythm of his speech . " Now , in a way , conflicting opinion is very natural in an art , as there are no absolute answers . It should be fun to have these arguments ...
... Salvini , but also by the remarkably clear - cut expressive tempo - rhythm of his speech . " Now , in a way , conflicting opinion is very natural in an art , as there are no absolute answers . It should be fun to have these arguments ...
Page 14
... directed . Now the Stanislavski method dates from the end of the last century when Salvini and other great acting stars visited Russia . Stanislavski had been bothered about his 1 acting ; he felt something was wrong , unsatisfactory . 14.
... directed . Now the Stanislavski method dates from the end of the last century when Salvini and other great acting stars visited Russia . Stanislavski had been bothered about his 1 acting ; he felt something was wrong , unsatisfactory . 14.
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 FĂ©lia 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