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 1
... performed with skill , but to question whether today's actor is free hardly seems valid . For instance , we perform on all manner of staging , from thrust staging , to theatre - in - the - round . We perform in the streets , in rooms ...
... performed with skill , but to question whether today's actor is free hardly seems valid . For instance , we perform on all manner of staging , from thrust staging , to theatre - in - the - round . We perform in the streets , in rooms ...
Page 40
... perform with speed and alacrity invisible gestures to bring you into the next line . Thus the listening audience will feel the unity of the verse in thought and action beyond mere naturalistic delivery . To put it another way , Henry ...
... perform with speed and alacrity invisible gestures to bring you into the next line . Thus the listening audience will feel the unity of the verse in thought and action beyond mere naturalistic delivery . To put it another way , Henry ...
Page 104
... perform the scene in our gibberish , colouring the progressive change of attitude as it develops , by using the appropriate vowel sounds . Next we may mime the action , but gently sing the vowel sounds as a tone - key for each sequence ...
... perform the scene in our gibberish , colouring the progressive change of attitude as it develops , by using the appropriate vowel sounds . Next we may mime the action , but gently sing the vowel sounds as a tone - key for each sequence ...
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