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. |
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Page 14
... object . Thus , when we describe a table , a chair , or a door , we ' stroke ' the object into existence . Because he has to describe a story , like the one about the magic paintbrush , in a kind of sign language , word by word , the ...
... object . Thus , when we describe a table , a chair , or a door , we ' stroke ' the object into existence . Because he has to describe a story , like the one about the magic paintbrush , in a kind of sign language , word by word , the ...
Page 60
... 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 object or the tractor must work upon 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 object or the tractor must work upon the ...
Page 108
... object stolen . We know the meaning of the word but , even so , we can bring the word to life through its sound . An increasing awareness for the sound in words would counteract a prevalent indifference to the musicality of speech ...
... object stolen . We know the meaning of the word but , even so , we can bring the word to life through its sound . An increasing awareness for the sound in words would counteract a prevalent indifference to the musicality of speech ...
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