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 39
... hand to the head for an " Oh , my Lord ! " line , or the biting of the back of the hand for " terror , " etc. , are obvious physical clichés ; our theatre is riddled with them . We have almost as many conventions as the Oriental theatre ...
... hand to the head for an " Oh , my Lord ! " line , or the biting of the back of the hand for " terror , " etc. , are obvious physical clichés ; our theatre is riddled with them . We have almost as many conventions as the Oriental theatre ...
Page 125
... hand a nicely col- ored prop , a piece of vegetable or fruit or whatever . As they listened they slowly offered these things up to the old man . Each hand that came out , presumably from this tree , had one of these props in it . The ...
... hand a nicely col- ored prop , a piece of vegetable or fruit or whatever . As they listened they slowly offered these things up to the old man . Each hand that came out , presumably from this tree , had one of these props in it . The ...
Page 165
... hand , I would like those who call any attempt at theatricality phony , to study their own outsides and find out if their acting instrument ( including speech , gesture , movement , appearance , stage charm , personality , sense of ...
... hand , I would like those who call any attempt at theatricality phony , to study their own outsides and find out if their acting instrument ( including speech , gesture , movement , appearance , stage charm , personality , sense of ...
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