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 47
... whole pack of you . ” They are both in the mood of vengeance but it is not quite of the same calibre . In the first case , the all - pervading mood of the whole play is one of fateful tragedy , while the " Long - distance mood " of the ...
... whole pack of you . ” They are both in the mood of vengeance but it is not quite of the same calibre . In the first case , the all - pervading mood of the whole play is one of fateful tragedy , while the " Long - distance mood " of the ...
Page 78
... whole part when studying in a workshop ; even if you don't execute the whole part you should really work it out . Now , in defense , you might say , " What about singers ? Singers take arias out of operas and study them , don't they ...
... whole part when studying in a workshop ; even if you don't execute the whole part you should really work it out . Now , in defense , you might say , " What about singers ? Singers take arias out of operas and study them , don't they ...
Page 105
... whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in painting , who may just start from anywhere on the canvas and let their luck take them where it will , must be ...
... whole as a painter sees the whole picture in his mind's eye as he paints . I have a feeling that even certain mod- ernists in painting , who may just start from anywhere on the canvas and let their luck take them where it will , must be ...
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