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 32
... Given circumstances . " Well that sounds pretty forbidding . Actually it's a term that was also used by Pushkin . In reply to an inquiry from an author , Pushkin wrote , “ The truth of passion , the verisimilitude of feeling , placed in ...
... Given circumstances . " Well that sounds pretty forbidding . Actually it's a term that was also used by Pushkin . In reply to an inquiry from an author , Pushkin wrote , “ The truth of passion , the verisimilitude of feeling , placed in ...
Page 98
... given circumstances , that is what our reason de- mands of a writer or of a dramatic poet . " Now the phrase I wish to extract momentarily from that statement for you is , " placed in the given circumstances . " Given circum- stances do ...
... given circumstances , that is what our reason de- mands of a writer or of a dramatic poet . " Now the phrase I wish to extract momentarily from that statement for you is , " placed in the given circumstances . " Given circum- stances do ...
Page 131
... given you tempi compatible with the emotional content of the scene . It is just like Shakespeare , who gives you the proper kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak ...
... given you tempi compatible with the emotional content of the scene . It is just like Shakespeare , who gives you the proper kind of words to say , if you play it right ; he knows , through having been an actor , where you can speak ...
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