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. |
From inside the book
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Page 61
... meaning through the dynamics of speaking , and grasping the meaning through active listening , by dancing the sentence . As an exercise , perform a series of mimes involving strength , energy and tension - carrying heavy weights ...
... meaning through the dynamics of speaking , and grasping the meaning through active listening , by dancing the sentence . As an exercise , perform a series of mimes involving strength , energy and tension - carrying heavy weights ...
Page 66
... meaning but also from the dynamic flow of the speech . In gibberish there is clearly no absolute meaning , yet expression abounds . You make a series of sounds , perhaps such as to appear that you are questioning someone . You pause as ...
... meaning but also from the dynamic flow of the speech . In gibberish there is clearly no absolute meaning , yet expression abounds . You make a series of sounds , perhaps such as to appear that you are questioning someone . You pause as ...
Page 108
... meaning of a word , but it is enough that we begin to visualize the gesture within words and , as Steiner suggests , ' let actors and actresses feel that they are " swimming " in the sounds ' when they dance to the sounds and the ...
... meaning of a word , but it is enough that we begin to visualize the gesture within words and , as Steiner suggests , ' let actors and actresses feel that they are " swimming " in the sounds ' when they dance to the sounds and 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