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
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Page 23
... body weight , so that we feel free from the body and yet aware of it as an instrument . Feeling free of it comes by replacing tension with weight . An actor plagued by tension won't be able to extend himself , either through movement or ...
... body weight , so that we feel free from the body and yet aware of it as an instrument . Feeling free of it comes by replacing tension with weight . An actor plagued by tension won't be able to extend himself , either through movement or ...
Page 24
... 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 personal characteristics ...
... 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 personal characteristics ...
Page 25
... 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 the levers he works with , which for him have to become a means of ...
... 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 the levers he works with , which for him have to become a means of ...
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