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 human being has the ability not to hear sounds , either because of familiarity
with the sound or because something interests us more ; and also not to see
even something as challenging as a poster if we shut our mind to it . To ignore ...
The breath is prepared , the speech organs are prepared , and then , we imagine
, the impulse for the human being to speak comes from a different world . The
human being has the ability to shape a home for many sounds . In fact in ancient
space where he can almost see the sounds as they perform invisible gymnastics
before him . Human speech is more expressive than gesture or mime . It reaches
into the listener , and should play a much larger part in drama than it does today ...
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Effective Speaking in the Theatre
The Wind Machine
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