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 34
... imagination to somebody who doesn't have it . I don't suppose one would be a very good actor anyway if one didn't have an imagination . But , he says , one can de- velop the imagination - one can work on it . After all , it is something ...
... imagination to somebody who doesn't have it . I don't suppose one would be a very good actor anyway if one didn't have an imagination . But , he says , one can de- velop the imagination - one can work on it . After all , it is something ...
Page 101
... imagination , which is the most powerful weapon of the artist . We have already had the example of Michael Chekhov in The Deluge , who when he felt he had to let his partner know he really loved him in spite of the way he had fought ...
... imagination , which is the most powerful weapon of the artist . We have already had the example of Michael Chekhov in The Deluge , who when he felt he had to let his partner know he really loved him in spite of the way he had fought ...
Page 102
... imagination is the reality of the artist ! Imagination is the material that artists work with . Truth must not be made into a static , stultifying thing . In art , truth should be the search for truth . SIXTH LECTURE MAY 20 , 1957 ...
... imagination is the reality of the artist ! Imagination is the material that artists work with . Truth must not be made into a static , stultifying thing . In art , truth should be the search for truth . SIXTH LECTURE MAY 20 , 1957 ...
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 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