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. |
From inside the book
Results 1-3 of 85
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 | |
5 other sections not shown
Other editions - View all
Common terms and phrases
acting action activity actor actresses ancient Greek antipathy appears artist attitude audience become begin behaviour breath bring centre character Clifford consonants create dactyl Dactylic Hexameter dance DAVID dead deed DESDEMONA discus Discus throwing drama duologue dynamic Eurythmy exercise experience expression familiar FATHER fear feeling forward GHOST give GLOUCESTER Greek gymnastic HAMLET hand hard palate Hecuba hexameter hold human imagination inner invisible gesture inwardly JULIET Konstantin Stanislavsky LADY listener live lyric MACBETH mime monophthong mood MOTHER mouth move movement nature OTHELLO perform physical play push release rhythm Romeo Rudolf Laban Rudolf Steiner scene sense silence situation soft palate sorry soul space speaking spear thrower speech spoken spondee stage stand STELLA stepping story-teller style syllable theatre thou thought throwing thrust stage tone Tybalt V V V V voice weight word wrestling