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 5
... pictures became actualities for the audience . We can thus picture how what we call a natural talent for acting began to develop . Rapidly the spoken word took over from the scenic action of the guild plays . The characters ' deepened ...
... pictures became actualities for the audience . We can thus picture how what we call a natural talent for acting began to develop . Rapidly the spoken word took over from the scenic action of the guild plays . The characters ' deepened ...
Page 13
... picture in a private school . Scarcely thinking what he did , Liang walked inside and asked the teacher if he would ... pictures with a flint - landscapes , beasts and birds . When he went down to the river to fish , he would spend the ...
... picture in a private school . Scarcely thinking what he did , Liang walked inside and asked the teacher if he would ... pictures with a flint - landscapes , beasts and birds . When he went down to the river to fish , he would spend the ...
Page 136
Peter Bridgmont. the same criterion to music , we could have a picture of a satisfied bourgeois audience . A picture gallery that catered for the familiar would have the same atmosphere . I believe that what is understood and recognized ...
Peter Bridgmont. the same criterion to music , we could have a picture of a satisfied bourgeois audience . A picture gallery that catered for the familiar would have the same atmosphere . I believe that what is understood and recognized ...
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