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 72
... working out a part . I sat stunned a good deal of the time as I listened to her describing in minute detail the exact physical patterns she planned for herself in a part . I re- membered how she actually appeared to be when she came 72.
... working out a part . I sat stunned a good deal of the time as I listened to her describing in minute detail the exact physical patterns she planned for herself in a part . I re- membered how she actually appeared to be when she came 72.
Page 89
... deal with and think about . To come back to the actors : are the " one hundred per- cent living - the - part ” actors really living the part one hun- dred per - cent , or are they just living themselves one hun- dred per - cent and ...
... deal with and think about . To come back to the actors : are the " one hundred per- cent living - the - part ” actors really living the part one hun- dred per - cent , or are they just living themselves one hun- dred per - cent and ...
Page 96
... deal of our problem now stems from the fact that we have learned a lot about reflexes and the like which did not enter into the earlier arguments . The discussion of the basic artistic principle of real vs. simulated feeling , however ...
... deal of our problem now stems from the fact that we have learned a lot about reflexes and the like which did not enter into the earlier arguments . The discussion of the basic artistic principle of real vs. simulated feeling , however ...
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