On Method Acting |
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Page 86
... realize that you don't time or count steps in life when speaking ? To do so on stage re- sults in absolutely stilted ... realizing that it is the behavior we possess in life that we should strive to perfect on stage . This is what forms ...
... realize that you don't time or count steps in life when speaking ? To do so on stage re- sults in absolutely stilted ... realizing that it is the behavior we possess in life that we should strive to perfect on stage . This is what forms ...
Page 87
... realize that their present methods of teaching are outmoded and useless to the actor . They should quit treating actors ' voices and their speech as though they were mechanical puppets in a side show . Em- phasis should not be placed on ...
... realize that their present methods of teaching are outmoded and useless to the actor . They should quit treating actors ' voices and their speech as though they were mechanical puppets in a side show . Em- phasis should not be placed on ...
Page 109
... realize that it would only be a short hop to a possible Affective Memory experience if the concentration were allowed to dwell ex- cessively on the sensory aspects of the Personalization . For if they do , the actor may find himself ...
... realize that it would only be a short hop to a possible Affective Memory experience if the concentration were allowed to dwell ex- cessively on the sensory aspects of the Personalization . For if they do , the actor may find himself ...
Contents
Introduction | 1 |
On the Art of Acting | 11 |
On Actors Problems | 71 |
Copyright | |
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Common terms and phrases
able acting actions actor's instrument Actors Studio actress actually Affective Memory exercise Animal Exercises artistic aspects audience author's awareness baby begin behavior believe body chair chapter characterization Cohan complete conscious create creative director emotions end result exer experience expression eyes feeling Geraldine Page Group Theatre happened Harold Clurman Hatful Of Rain human imagination imitation important improvisation individual Inner Character involved James Dean Lee Strasberg legs lines Marilyn Marilyn Monroe Marlon Brando means mental Method actors Moscow Art Theatre movement natural never object observation Outer Character pain pantomimic performance person phase Physical Exercise physical task play portraying problems produce qualities reader reality realize reason rehearsals relaxation remember role scene script sensation Sense Memory sensory simple sitting situation sometimes speak speech stage Stanislavsky student subconsciously talent teacher tension theatrical thoughts tion true truth usually voice walk words