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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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 ...
The activity for the actor is that first he goes out to the object and then it works
back upon him . It can happen that a building or a personal object can at one time
be attractive , but then , because of some event , it suddenly proves repellent .
The main object of the exercise is to hear the inflexion as we copy the cadence of
speech without any content . The expressive quality that lies within the inflected
voice can be vastly entertaining for the speakers , as can the awareness that ...
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Effective Speaking in the Theatre
The Wind Machine
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