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 ix
... actor or when it relied on the actor's personality . In the first instance the audience will join you , but in the second they will somehow be disappointed . From such ambitions came Edward Gordon Craig's hope for the actor at the ...
... actor or when it relied on the actor's personality . In the first instance the audience will join you , but in the second they will somehow be disappointed . From such ambitions came Edward Gordon Craig's hope for the actor at the ...
Page 5
... actor resting after a performance , while a woman kneels before the mask with adoration , her back to the actor . I think for some of us this painting is an indication of where the actor of ancient times thought he should be ...
... actor resting after a performance , while a woman kneels before the mask with adoration , her back to the actor . I think for some of us this painting is an indication of where the actor of ancient times thought he should be ...
Page 6
... actor sprang from tradition ( for example , the gesture of beating the hand with the fist to make a point ) , and of course all gestures and mimes could be learnt . Yet gesture was not enough . Was attention consistently commanded by ...
... actor sprang from tradition ( for example , the gesture of beating the hand with the fist to make a point ) , and of course all gestures and mimes could be learnt . Yet gesture was not enough . Was attention consistently commanded by ...
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