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 89
... moved by falseness , I suppose , because they bring their own sense of truth to it and read into the false- ness what they wish to know . All they need is the key for them to feel ; it does not have to be done for them . They need only ...
... moved by falseness , I suppose , because they bring their own sense of truth to it and read into the false- ness what they wish to know . All they need is the key for them to feel ; it does not have to be done for them . They need only ...
Page 90
... moved in the theatre had nothing to do with this Method and its inner feeling . This was when I saw the great ... moved us in any way he wanted us to be moved . There was one scene where he committed suicide on the stage . He played the ...
... moved in the theatre had nothing to do with this Method and its inner feeling . This was when I saw the great ... moved us in any way he wanted us to be moved . There was one scene where he committed suicide on the stage . He played the ...
Page 96
... moved me about it . " I told her my story and the actress said , " I know just what you mean , because that same thing happened to me . It was in an entirely different way , but I understand that feeling . I've been faced with a similar ...
... moved me about it . " I told her my story and the actress said , " I know just what you mean , because that same thing happened to me . It was in an entirely different way , but I understand that feeling . I've been faced with a similar ...
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