Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 33
Beats ” — Number Fourteen — what that means , quite simply , is the distance
from the beginning to the end of an intention . Your wish " to let him know you
always suspected him ” ( your intention ) might start with the line , “ I knew you did
it ...
Beats ” — Number Fourteen — what that means , quite simply , is the distance
from the beginning to the end of an intention . Your wish " to let him know you
always suspected him ” ( your intention ) might start with the line , “ I knew you did
it ...
Page 141
... they usually go to the other extreme - the direct opposite — before they come
back to your hints . So the danger of imitation is not so great as some people
would like you to believe . I think the virtues of that way of beginning are many .
... they usually go to the other extreme - the direct opposite — before they come
back to your hints . So the danger of imitation is not so great as some people
would like you to believe . I think the virtues of that way of beginning are many .
Page 144
There is that sense of rushing , of getting to the next cue ; whereas actually , in
the beginning , it is not important whether you come in right on the nose or not -
you are not yet performing ! But , when the other fellow is talking to you it certainly
is ...
There is that sense of rushing , of getting to the next cue ; whereas actually , in
the beginning , it is not important whether you come in right on the nose or not -
you are not yet performing ! But , when the other fellow is talking to you it certainly
is ...
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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