Liberation of the ActorTemple 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. |
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Page 36
... action ; he will sign a document — a complete action ; and then return the pen back to the tray - a final complete action . The character portrayed in the play may not be particularly decisive . Therefore , the actor must disguise the ...
... action ; he will sign a document — a complete action ; and then return the pen back to the tray - a final complete action . The character portrayed in the play may not be particularly decisive . Therefore , the actor must disguise the ...
Page 70
... action . This can be seen in sport , in which there is always a movement from effort to a conclusion - striking a ball , throwing a spear , shooting an arrow , winning a race , hurling a discus . The ultimate satisfaction in sport is to ...
... action . This can be seen in sport , in which there is always a movement from effort to a conclusion - striking a ball , throwing a spear , shooting an arrow , winning a race , hurling a discus . The ultimate satisfaction in sport is to ...
Page 74
... action . Gradually , as they fail to find the documents , they become more thoughtful . The emphasis of the action becomes more on pondering and looking around rather than on the action of searching . Finally , the action may stop ...
... action . Gradually , as they fail to find the documents , they become more thoughtful . The emphasis of the action becomes more on pondering and looking around rather than on the action of searching . Finally , the action may stop ...
Contents
The Foundation | 12 |
Effective Speaking in the Theatre | 31 |
The Wind Machine | 49 |
Copyright | |
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Common terms and phrases
acting action activity actor appears approaching artist attitude audience aware become begin believe body breath bring carried CHAPTER character Clifford comes complete consonants create dance DAVID dead describe DESDEMONA develop drama dynamic effective energy epic exercise experience expression eyes familiar FATHER fear feeling Finally force forward gesture give HAMLET hand hear hold human idea imagination inner invisible leave listener live look lost lyric mean mime mood MOTHER mouth move movement nature object OTHELLO perform perhaps physical picture play position preparation Press push reach release remember scene sense silence situation soul sound space speaker speaking spear speech spoken stage stand stepping style theatre things thou thought throwing true turn voice vowel weight wish