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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Finally , the invisible gymnastics of preparation bring the next line into the right
place for the delivery . We must of course take into account the simple statements
the characters make but also feel behind the naturalism of the scene a great deal
We can choose any word and bring it by way of mime into a dance pattern . Such
words as bind , fly , loose , tight , dead , life , fear , brave . It can be interesting to
discover words that , out of movement , describe themselves — free , catch , hate
However , the main object of the exercise is to bring our expression into phrases
and sentences . The burgled flat story ( p . 106 ) that we have already used in
mime and in inner sounding can finally be handled with ' muttered ' dialogue .
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