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 30
... speaking ; it is present all the time , whether you are speaking , listening , or standing alone on the stage , think- ing . It is a continuing component of acting which is very basic . It is , in a way , even more important than ...
... speaking ; it is present all the time , whether you are speaking , listening , or standing alone on the stage , think- ing . It is a continuing component of acting which is very basic . It is , in a way , even more important than ...
Page 131
... speak fully and at length , as well as where you should be too moved to be able to speak much , or at all . The third ... speaking verse ) is checked by having , in rehearsals , dinned into yourself the inner pattern of thought and feel ...
... speak fully and at length , as well as where you should be too moved to be able to speak much , or at all . The third ... speaking verse ) is checked by having , in rehearsals , dinned into yourself the inner pattern of thought and feel ...
Page 163
... speaking of " living their part " are really living the part or really living themselves and adding the author's words to that life . And , while I came out " in favor of " truth , I also tried to point out that truth in art was a much ...
... speaking of " living their part " are really living the part or really living themselves and adding the author's words to that life . And , while I came out " in favor of " truth , I also tried to point out that truth in art was a much ...
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