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 148
... costume that's going to make you uncomfortable , and that that will prevent prop you from flinging your hands around ... costume , for example . If you are going to have certain clothes which will require you to behave in a certain way ...
... costume that's going to make you uncomfortable , and that that will prevent prop you from flinging your hands around ... costume , for example . If you are going to have certain clothes which will require you to behave in a certain way ...
Page 149
... costume has uncomfortable tight trousers and that you must act now in these tight trousers . ( In any mod- ern play you have to ! ) The same thing is true of props and even lighting ef- fects . I've seen many actors suddenly thrown by ...
... costume has uncomfortable tight trousers and that you must act now in these tight trousers . ( In any mod- ern play you have to ! ) The same thing is true of props and even lighting ef- fects . I've seen many actors suddenly thrown by ...
Page 150
... costumes . You go through without stopping and the di- rector gives his notes at the end . I think it's a good idea , in the first few run - throughs , to give just the important notes , those having to do with big things . The fact ...
... costumes . You go through without stopping and the di- rector gives his notes at the end . I think it's a good idea , in the first few run - throughs , to give just the important notes , those having to do with big things . The fact ...
Contents
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Method Fetishes | 67 |
Copyright | |
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Common terms and phrases
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