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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Without doubt the strongest force was the impressionistic theatre , represented ( if
one has to pigeonhole ) by the theatre designer and director Edward Gordon
Craig and the Swiss scenery artist Adolphe Appia , to name but two . Stanislavsky
But in a fiction , in a dream of passion , Could force his soul so to his own conceit
That from her working all his visage wann ' d , Tears in his eyes , distraction in ' s
aspect , A broken voice , and his whole function suiting With forms to his conceit ...
They possessed the unique quality of not only experiencing the living force within
nature but of being able to express the activity of that force in dance and sound .
This can help us sense the depths from which speech springs . As human ...
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