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 19
... 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 alone will not make him one . There is no guarantee that if you do ...
... 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 alone will not make him one . There is no guarantee that if you do ...
Page 20
... 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 cos- tume is made of stiff material ...
... 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 cos- tume is made of stiff material ...
Page 51
... technical formulation in my mind ? I don't think so . The technical knowledge must be in me ; ' but a kind of automatic process goes on as you create ; your " motor " is being fed by your technique 51 THIRD LECTURE: Some Attitudes ...
... technical formulation in my mind ? I don't think so . The technical knowledge must be in me ; ' but a kind of automatic process goes on as you create ; your " motor " is being fed by your technique 51 THIRD LECTURE: Some Attitudes ...
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