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?
Results 1-3 of 18
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
Again , the sense of weight in the body allows us to stand balanced and at ease ,
so that our speech floats away from us into the surrounding air . Tension not only
hinders movement and speech but also prevents us freeing ourselves from our ...
I say advisedly “ push oneself up ' in order that we have to think how we will turn
our body to push with the knee and the elbow so as to bring the body upright and
so forth . This sort of exercise is not new , but for the actor it can introduce him to ...
What people are saying - Write a review
Effective Speaking in the Theatre
The Wind Machine
5 other sections not shown