Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 36
You ' re telling someone about something that happened and suddenly you start
to be moved again by the experience . Stanislavski tried to work this out so that it
can be used as material by the creative actor . Of course a great deal of the ...
You ' re telling someone about something that happened and suddenly you start
to be moved again by the experience . Stanislavski tried to work this out so that it
can be used as material by the creative actor . Of course a great deal of the ...
Page 96
cause it touched something in my own life . I had been in that situation once . I
knew it was going to be a difficult moment for the actress because it just so
happened that there was not much preparation for it in the scene . I said to her , “ I
don ' t ...
cause it touched something in my own life . I had been in that situation once . I
knew it was going to be a difficult moment for the actress because it just so
happened that there was not much preparation for it in the scene . I said to her , “ I
don ' t ...
Page 124
... and which , though not bound down to the representation and rational
interpretation of that which has happened or may happen in real life , must
achieve a kind of truth that is appropriate to the poet ' s conception and results
from integrity of ...
... and which , though not bound down to the representation and rational
interpretation of that which has happened or may happen in real life , must
achieve a kind of truth that is appropriate to the poet ' s conception and results
from integrity of ...
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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