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 15
... physically . There is a tendency at present to copy only the slight and stunted indications of expression that are visible ... physical manifestation , the hidden soul gesture . Much more of our inner life can be revealed by movement and ...
... physically . There is a tendency at present to copy only the slight and stunted indications of expression that are visible ... physical manifestation , the hidden soul gesture . Much more of our inner life can be revealed by movement and ...
Page 18
... physical effort we come to an experience we personally enjoy . On the other hand , our expenditure of physical effort may be slight , and experience attained by an inward activity - observation of some kind , say bird watching ...
... physical effort we come to an experience we personally enjoy . On the other hand , our expenditure of physical effort may be slight , and experience attained by an inward activity - observation of some kind , say bird watching ...
Page 127
... the next syllable and so on into the silence . Physically step the syllable at the same time . Repeat until the physical movement can stop , leaving the speech to move in space . ' Sound Taste ' - Epic - Dramatic — Lyric 127.
... the next syllable and so on into the silence . Physically step the syllable at the same time . Repeat until the physical movement can stop , leaving the speech to move in space . ' Sound Taste ' - Epic - Dramatic — Lyric 127.
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