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 12
... audience never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly “ theatrical . ” It was a real physical thrill . I ...
... audience never gasped in Moissi's case as they did in Ben- Ami's . Try to follow me through this because it leads to my ultimate points . The effect that Moissi made was stun- ningly “ theatrical . ” It was a real physical thrill . I ...
Page 151
... audience in New Haven , or wherever . The audience , too , makes other little changes . Certain things you were doing which you thought were perfectly clear are not clear to the public . In other things you find the audience is way ...
... audience in New Haven , or wherever . The audience , too , makes other little changes . Certain things you were doing which you thought were perfectly clear are not clear to the public . In other things you find the audience is way ...
Page 153
... audience , which is used to seeing Ophelia as an attractive person , saw her as stupid and unpleasant , it would say ... audience see these people - through Hamlet's eyes , or its own ? After all , Hamlet isn't on the stage in this scene ...
... audience , which is used to seeing Ophelia as an attractive person , saw her as stupid and unpleasant , it would say ... audience see these people - through Hamlet's eyes , or its own ? After all , Hamlet isn't on the stage in this scene ...
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