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 78
... scenes in studio classes . It is inevitable that you will choose an exciting scene to do and not a dreary scene where nothing much happens . You're not going to take the trouble to meet with someone and rehearse for hours on a scene ...
... scenes in studio classes . It is inevitable that you will choose an exciting scene to do and not a dreary scene where nothing much happens . You're not going to take the trouble to meet with someone and rehearse for hours on a scene ...
Page 79
... scene regardless of your personal desire to do it some other way . This is a big subject . It's the " I - don't - feel - it- that - way " problem ! Sometimes the exigencies of the mo- ment demand that a line be said in a certain way ...
... scene regardless of your personal desire to do it some other way . This is a big subject . It's the " I - don't - feel - it- that - way " problem ! Sometimes the exigencies of the mo- ment demand that a line be said in a certain way ...
Page 148
... scene or a section of it and have the actors involved do the scene in the chairs so that they get that wonderful connection again which they have lost a bit through having to get their positions . Then , as soon as they've got that ...
... scene or a section of it and have the actors involved do the scene in the chairs so that they get that wonderful connection again which they have lost a bit through having to get their positions . Then , as soon as they've got that ...
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