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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The breath - forms affect the listener more deeply than the vibration of the air on
the ear - drum . The consonants reflect in us as we listen the formed realities of
the world whereas the vowels pour out the feelings and reactions to these
He is crushed . The Consonants and the Four Elements The consonants , we
may find , are more descriptive of objects and events , whereas the vowels have
more to do with inner expression . The consonants were related by Rudolf
Steiner to ...
Note — now that we have experimented with the consonant sounds for ourselves
, we may tabulate them for the sake of clarity , but please become ... Pace down
the room , with each step a sound , until you have stepped the five consonants .
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