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 24
... elements which I feel are not emphasized strongly enough or are totally neglected by various exponents of the Method . I know that I run the risk of confusing some of you who have had no contact at all with the Method . I've thought it ...
... elements which I feel are not emphasized strongly enough or are totally neglected by various exponents of the Method . I know that I run the risk of confusing some of you who have had no contact at all with the Method . I've thought it ...
Page 82
... elements of characterization . It's quite possible for you to work out some characterization of a guy who is heavy ... element of char- acterization which you can incorporate in your character . You can go further ; you can become even ...
... elements of characterization . It's quite possible for you to work out some characterization of a guy who is heavy ... element of char- acterization which you can incorporate in your character . You can go further ; you can become even ...
Page 126
... element . One could even do without them , and there has been theatre without words . Now you might say , " That's the director's job you're talking about . Where does the actor come in ? " Well , I think that the actor too , in ...
... element . One could even do without them , and there has been theatre without words . Now you might say , " That's the director's job you're talking about . Where does the actor come in ? " Well , I think that the actor too , in ...
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