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 59
... started from that with no psychological idea— just the painting . He studied it and tried to recreate , with his body , the exact figure of the shepherd boy - the stance , the look , everything . Then he started to make it move ; he ...
... started from that with no psychological idea— just the painting . He studied it and tried to recreate , with his body , the exact figure of the shepherd boy - the stance , the look , everything . Then he started to make it move ; he ...
Page 125
... started to quiver ( this was justi- fied by the actor's very real feeling , you understand ) and he appeared to be using his trumpet like a watering can . The people standing around below were gradually attracted to the sound and in ...
... started to quiver ( this was justi- fied by the actor's very real feeling , you understand ) and he appeared to be using his trumpet like a watering can . The people standing around below were gradually attracted to the sound and in ...
Page 135
... started to drink , music , accentuating the relief that comes from great satisfaction , started playing softly . Holding this beautiful pitcher to his lips to drink , he leaned back further and further , drinking and drinking , until he ...
... started to drink , music , accentuating the relief that comes from great satisfaction , started playing softly . Holding this beautiful pitcher to his lips to drink , he leaned back further and further , drinking and drinking , until he ...
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 Félia 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