Word: methods
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Dates: during 1960-1969
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ORDINARILY in this country. Chekhov's works have been performed by actors who subscribe to Stanislavski's "method." a revolutionary approach to acting which developed around Chekhov's plays in turn-of-the-century Russia. Method actors have trained us to think of Chekhov plays as having quiet, detailed surfaces under which internalized explosions almost imperceptively crupt. In Moss's Three Sisters, this now-standard approach to the playwright is turned inside out (and must be, since Grotowski's views on acting are in practice, if not purpose, almost diametrically opposed to Stanislavski...
...stocks and legal records must be rewritten to match a new legal label. Most cutting of all is the prevalent attitude that marriage has automatically disqualified me from any intelligent conversation and that baby making and dishwashing can be my only destiny. Surely there must be a less humbling method for the liberated female to find a new roommate...
...remembers Janáček from his student days in Prague. He compares Janáček's originality with that of America's Charles Ives. Like Ives, Janacek was a weird, lonely figure who owed little to his musical ancestors and had no true descendants. His method of composing was slapdash and, to would-be performers, sometimes unintelligible. Says Mackerras: "He never really knew his craft. He had an absolutely lackadaisical approach to the details, but a strict and passionate approach to what the music was trying to convey." Susskind suggests a reason for the carelessness...
...only an impressionistic one. It has nothing to do with the policies of conscription or resistance. The SSS has pushed their denial of our human autonomy to the logical extreme by ranking us as numbers in what is clearly a Game. The United States is now using the same method to decide the future of human beings that the Rotary Club used to pick winners of color T.V's. that the B'nai B'rith uses to name sponsors of trees in Israel...
...solo. Baker's ability to develop rhythmically redefining motives over a beat which is itself reforming is beyond the demonstrated capacities of any other drummer. No drummer has ever carried a bad song with such unfailing strength as Baker did with "White Room." Yet Bonham proceeds primarily by a method of complementary rhythmic motives which, at least in "Good Times Bad Times" and "Ramble On," are the equal of Baker. Bonham's solidity of striking, his footwork, and dynamic range are comparable to Baker, while his talent for long-term organic development of genuinely complex rhythms compares disadvantageously with Baker...