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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Thus , when we describe a table , a chair , or a door , we ' stroke ' the object into
existence . Because he has to describe a story , like the one about the magic
paintbrush , in a kind of sign language , word by word , the actor begins to sense
This can help us sense the depths from which speech springs . As human beings
, we are able to relive an experience through sound and gesture , and pass it on
to others . Through human sound , that has the ability to describe events and ...
It can be interesting to discover words that , out of movement , describe
themselves — free , catch , hate , love , and so on . The sounds often describe the
meaning of a word , but it is enough that we begin to visualize the gesture within
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Effective Speaking in the Theatre
The Wind Machine
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