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 38
... understanding English might think I was describing an accident . I was " despairing " at how great an artist can be ... understand what is meant by " The fluid of the exchange of emotion . " If you have ever been playing in a scene with ...
... understanding English might think I was describing an accident . I was " despairing " at how great an artist can be ... understand what is meant by " The fluid of the exchange of emotion . " If you have ever been playing in a scene with ...
Page 95
... understanding of the whole play , the situations and the characters , and if with your will ( if you are really ... understand by it since it itself doesn't seem to generate my motor emotionally ? " I have this problem all the time ...
... understanding of the whole play , the situations and the characters , and if with your will ( if you are really ... understand by it since it itself doesn't seem to generate my motor emotionally ? " I have this problem all the time ...
Page 97
... understanding and our work . Now , to pursue this a little further , M. Louis Jouvet said , in an article , that on the ... understand it . I thought to myself , " Now let me see . " The actor should hide what he feels and show what he ...
... understanding and our work . Now , to pursue this a little further , M. Louis Jouvet said , in an article , that on the ... understand it . I thought to myself , " Now let me see . " The actor should hide what he feels and show what 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