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. |
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Page 3
... drama is that we have the skills to show the familiar with great accuracy of observation . If only at the same time ... drama . The actor is but the servant to the drama . He can display the world as he knows it but through his study and ...
... drama is that we have the skills to show the familiar with great accuracy of observation . If only at the same time ... drama . The actor is but the servant to the drama . He can display the world as he knows it but through his study and ...
Page 115
Peter Bridgmont. CHAPTER 10 Epic , Dramatic and Lyric Moods Drama was not a pastime that sprang up out of nowhere as a game of charades that developed into art . It had its place in the ancient Mystery schools from whence it was released ...
Peter Bridgmont. CHAPTER 10 Epic , Dramatic and Lyric Moods Drama was not a pastime that sprang up out of nowhere as a game of charades that developed into art . It had its place in the ancient Mystery schools from whence it was released ...
Page 147
... drama should approach the actor from another world , an invisible realm . The drama at first exists , as it were , on the imaginary heights of a Mount Fuji or the slopes of Olympus . From this rarified atmosphere the artist calls the ...
... drama should approach the actor from another world , an invisible realm . The drama at first exists , as it were , on the imaginary heights of a Mount Fuji or the slopes of Olympus . From this rarified atmosphere the artist calls the ...
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