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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CHAPTER 2 Story - telling , Mime and Gesture : The Foundation Drama is story -
telling . The narrator ' s function has gradually passed to the actor . The story is
revealed through activity , and through the duologue between performers .
Mime In mime we don ' t have the actual object itself ; we shape it into existence
out of the otherwise empty space . A cup is revealec . by the way the hand holds
the cup . A table is revealed by the way we slide our hands across the space ...
First mime the action , with someone softly reading the text to guide us through
the scene . Then we can perform the scene in our gibberish , colouring the
progressive change of attitude as it develops , by using the appropriate vowel
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Effective Speaking in the Theatre
The Wind Machine
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