Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 46
Now everything in the play was about that in one way or another and each
character in the play had a “ spine ” which was related to it . The young violinist
felt that the way he could cope with this problem of feeling inferior was " to fight
his way ...
Now everything in the play was about that in one way or another and each
character in the play had a “ spine ” which was related to it . The young violinist
felt that the way he could cope with this problem of feeling inferior was " to fight
his way ...
Page 59
Her playing even seemed improvisational ; and in a farce where everything is
always worked out to the split - second . It was very funny , but also very true , and
even touching at times . To continue the search for an explanation of other ...
Her playing even seemed improvisational ; and in a farce where everything is
always worked out to the split - second . It was very funny , but also very true , and
even touching at times . To continue the search for an explanation of other ...
Page 118
is enchanting , everything goes along fine and she gets a big hand at the end of
the scene . Then comes the end of the second act and it turns out that dear Ruth
is a born murderess ! But nobody believes it ! The audience has to be convinced
...
is enchanting , everything goes along fine and she gets a big hand at the end of
the scene . Then comes the end of the second act and it turns out that dear Ruth
is a born murderess ! But nobody believes it ! The audience has to be convinced
...
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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 keep kind LECTURE listen living look Master means meant ment Method mind moment move movement naturally never 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