Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 39
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” (
again , he means inner movement ) . It is the knowledge that a certain section , a
certain intention is over , that the next one is beginning , and just where that point
...
Twenty - four : “ The finishing of problems ( beats ) and mastery in movement ” (
again , he means inner movement ) . It is the knowledge that a certain section , a
certain intention is over , that the next one is beginning , and just where that point
...
Page 79
I use the word “ problem ” here to mean the intention of the scene . As you
improvise , you must observe the inner form of the scene , where one section
ends and another begins . Improvisation does have certain specific values but I
believe it.
I use the word “ problem ” here to mean the intention of the scene . As you
improvise , you must observe the inner form of the scene , where one section
ends and another begins . Improvisation does have certain specific values but I
believe it.
Page 129
All this produces a heavy - footed inner tempo - rhythm and a psychologically
over - complex subtext which because of its involutions seeps into the verbal
verse . “ A dramatic Wagnerian soprano with her rich , powerful voice is not
chosen to ...
All this produces a heavy - footed inner tempo - rhythm and a psychologically
over - complex subtext which because of its involutions seeps into the verbal
verse . “ A dramatic Wagnerian soprano with her rich , powerful voice is not
chosen to ...
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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