Method--or Madness?: With an Introd. by Harold Clurman, Volume 10 |
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Page 19
When a composer needs a difficult modulation from one key to another , his technical knowledge of key relationships helps him make that modulation . However , if he is not a painter or a composer in the first place , technical knowledge ...
When a composer needs a difficult modulation from one key to another , his technical knowledge of key relationships helps him make that modulation . However , if he is not a painter or a composer in the first place , technical knowledge ...
Page 20
It is a truly great technical feat , but she doesn't do it for that reason at all . It's done for an idea , the idea , possibly , that the court is standing on its head and everything is upside down . Then , too , her costume is made of ...
It is a truly great technical feat , but she doesn't do it for that reason at all . It's done for an idea , the idea , possibly , that the court is standing on its head and everything is upside down . Then , too , her costume is made of ...
Page 51
I think back over my rehearsals and wonder if when I am sitting there , looking at the stage , listening , stopping the actors , correcting , do I ever actually use a technical formulation in my mind ? I don't think so .
I think back over my rehearsals and wonder if when I am sitting there , looking at the stage , listening , stopping the actors , correcting , do I ever actually use a technical formulation in my mind ? I don't think so .
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Contents
Background | 3 |
The Method Itself | 23 |
Some Attitudes toward the Method | 51 |
Copyright | |
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able acting actors actual answer artist attitude audience beautiful become beginning believe called character chart clear comes complete course create deal directed director don't effect elements emotion everything example expressing feeling fellow felt finally girl give given going Group Group Theatre hand happened hear idea imagination important inner intention keep kind LECTURE listen living look Master means meant ment Method mind moment moved movement naturally never particular performance person physical play poetic possible Prepares problem production realistic reason rehearsal remember rhythm scene sense simply singing sound speaking specific speech stage Stanislavski started style supposed talk technical technique tell theatre theatrical thing thought tion true truth understand voice walking week whole