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 4
... Shakespeare and frowned upon by good English actors . [ Here I left the tall stool I used as a perch and , crossing ... Shakespearean actor . Yes , everything is documented tonight ! A great deal of the time one hears that Method actors ...
... Shakespeare and frowned upon by good English actors . [ Here I left the tall stool I used as a perch and , crossing ... Shakespearean actor . Yes , everything is documented tonight ! A great deal of the time one hears that Method actors ...
Page 131
... Shakespeare , who gives you the proper kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak fully and at length , as well as where you should be too moved to be able to speak much ...
... Shakespeare , who gives you the proper kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak fully and at length , as well as where you should be too moved to be able to speak much ...
Page 158
... Shakespeare has no feelings or moods which should be read between the lines . He is too clear . In contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare ...
... Shakespeare has no feelings or moods which should be read between the lines . He is too clear . In contemporary plays the mood is usually created not so much by the words themselves as by what lies between the lines , but in Shakespeare ...
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