Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 51
THIRD LECTURE : Some Attitudes toward the Method I would like now to discuss
various attitudes toward this monumental work of Stanislavski ' s . Recently , I
have tried to think of my own attitude toward it . I find it is the same as what I feel ...
THIRD LECTURE : Some Attitudes toward the Method I would like now to discuss
various attitudes toward this monumental work of Stanislavski ' s . Recently , I
have tried to think of my own attitude toward it . I find it is the same as what I feel ...
Page 53
That is my attitude toward the use of all techniques , including this Stanislavski
system . It is all there to know about and to study and to use when , and if , the
need arises . But I would now like to go on to some other attitudes toward this
Method ...
That is my attitude toward the use of all techniques , including this Stanislavski
system . It is all there to know about and to study and to use when , and if , the
need arises . But I would now like to go on to some other attitudes toward this
Method ...
Page 56
Now there was a distinct change in attitude toward the Method in 1934 when my
Group Theatre friends came back with the report from Stanislavski . That change
had to do with the over - emphasis on certain aspects of the Method , a situation ...
Now there was a distinct change in attitude toward the Method in 1934 when my
Group Theatre friends came back with the report from Stanislavski . That change
had to do with the over - emphasis on certain aspects of the Method , a situation ...
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able acting actors actual answer artist attitude audience beautiful become beginning called character chart clear comes complete course create 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 keep kind LECTURE listen living look Master means meant ment Method mind moment move 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 technical technique tell theatre theatrical thing thought tion true truth understand voice walking week whole