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 9
... specific elements of acting rather than at developing good artists ? In this section I will also discuss acting as it relates to music , painting and other arts . Fi- nally , the Method in connection with poetic theatre , mu- sicals ...
... specific elements of acting rather than at developing good artists ? In this section I will also discuss acting as it relates to music , painting and other arts . Fi- nally , the Method in connection with poetic theatre , mu- sicals ...
Page 52
... specific moments when I had to have a certain effect ; times when , as an artist , I was obsessed with a moment and it had to be done a specific way . I remembered , for example , a scene in The Teahouse of the August Moon when David ...
... specific moments when I had to have a certain effect ; times when , as an artist , I was obsessed with a moment and it had to be done a specific way . I remembered , for example , a scene in The Teahouse of the August Moon when David ...
Page 79
... problem " here to mean the intention of the scene . As you improvise , you must ob- serve the inner form of the scene , where one section ends and another begins . Improvisation does have certain specific values but I believe it 79.
... problem " here to mean the intention of the scene . As you improvise , you must ob- serve the inner form of the scene , where one section ends and another begins . Improvisation does have certain specific values but I believe it 79.
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