Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 62
In justice , I want to read the end of that chapter , in which he also says , “ A clear - cut rhythm of speech facilitates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear ...
In justice , I want to read the end of that chapter , in which he also says , “ A clear - cut rhythm of speech facilitates rhythmic sensibility and the opposite is also true : the rhythm of sensations experienced helps to produce clear ...
Page 151
Certain things you were doing which you thought were perfectly clear are not clear to the public . In other things you find the audience way ahead of you fix and fix until the New York première . Now the amount of time that should be ...
Certain things you were doing which you thought were perfectly clear are not clear to the public . In other things you find the audience way ahead of you fix and fix until the New York première . Now the amount of time that should be ...
Page 163
All this is very clearly spoken about in the second volume . I think that reading that second volume and getting Stanislavski's own views on these points will help a great deal to clear up a lot of confusion .
All this is very clearly spoken about in the second volume . I think that reading that second volume and getting Stanislavski's own views on these points will help a great deal to clear up a lot of confusion .
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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Common terms and phrases
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 interesting keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never once 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