Liberation of the Actor
Temple Lodge, 1992 - 148 pages
The artist was once a messenger of the gods. Breathing in, the Greek actor was lifted into a realm of thought and inspiration. And breathing out, the will was strengthened. Can modern actors again become messengers through their own power of description and dramatization?
Anyone with an interest in the spoken word, acting, or the future of the theater in general will welcome this book. The author goes beyond simple character study and interpretation to reexamine the forgotten esoteric aspects of acting. Based on Rudolf Steiner's ideas on speech and drama, Bridgmont provides a new basis for the true liberation of actors today.
C O N T E N T S
1. Where is the Actor?
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CHAPTER 3 The Body as Instrument I would like to return to the question in
Chapter 1 , ' Where am I when I am acting ? ' In that chapter I was standing on the
stage , in a place created by Gordon Craig , a place that he hoped would inspire
CHAPTER 4 Effective Speaking in the Theatre In the last chapter we experienced
the shifting of weight , balance , and adjustment of the body , as well as action
without motive . And we have experienced the first stage of a sense of movement
In this final chapter I am setting out two scenes , one for two men , the other for
two women . They are simple scenes , written in an ordinary conversational style .
I have coined a phrase to describe this kind of scene — ' deductive drama ' .
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Effective Speaking in the Theatre
The Wind Machine
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