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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I remember when working with Theatre Workshop at the Theatre Royal , Stratford
, Joan Littlewood commenting that the audience always knew when a
performance was a complete creation of the actor or when it relied on the actor ' s
It shows a weary 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 .
We know that the bold gestures of the Elizabethan 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 .
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