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 75
... don't do this . When we are part of an audience watching a performer we don't want to think , " This performance must have cost about $ 750.00 in lessons at Mme . So - and- so's . " We want to feel as we did the other night at Jennie ...
... don't do this . When we are part of an audience watching a performer we don't want to think , " This performance must have cost about $ 750.00 in lessons at Mme . So - and- so's . " We want to feel as we did the other night at Jennie ...
Page 80
... don't try not to say them . " As soon as they finished , I made them go right back and do the same scene with the author's lines , trying to retain what they gained from that little improvisation . But you must watch and insist that the ...
... don't try not to say them . " As soon as they finished , I made them go right back and do the same scene with the author's lines , trying to retain what they gained from that little improvisation . But you must watch and insist that the ...
Page 90
... don't feel it that way " or , " I don't feel it if he's going to do that . " When I hear that I want to say , " Who cares ? It's the audience which is supposed to feel it ! " I think it is an excuse for the fact that the actor is not ...
... don't feel it that way " or , " I don't feel it if he's going to do that . " When I hear that I want to say , " Who cares ? It's the audience which is supposed to feel it ! " I think it is an excuse for the fact that the actor is not ...
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 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