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 22
Breathing : an ingredient of speech Today we store breath ; it is even a technique
for speaking . We store breath and then release it , as though rationing it for future
use . This style of breathing lives with us in our daily experience ; we can ...
There are four ingredients in producing the speaking voice : breath , tone , with
which we are familiar ; movement in space ; and consonantal form which takes
hold of the breath - system , i . e . , articulation projected onto the moving breath ...
The in - breathing was regulated , not random , there being two spaces for the
breath to each line . Each in - breath occupied the duration of one dactyl . Thus
you had in each line eight spaces : two for inhaling and six spoken dactyls ...
What people are saying - Write a review
Effective Speaking in the Theatre
The Wind Machine
5 other sections not shown