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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To experience this weight further , from a lying position we push ourselves up
until we are standing . I say advisedly “ push oneself up ' in order that we have to
think how we will turn our body to push with the knee and the elbow so as to
... give it a final “ push ' . The psychological art is to release it so that the discus
spins in a clean , climbing flight . So , from our centre in a crouched position , we
expand to the limits of our physical periphery and the discus flies out of our hand .
The position of body , arm and hand when preparing to throw a javelin is seen to
be correct or otherwise by the angle at which the javelin strikes the ground . You
observe the position of the spear and then alter your hand position behind you ...
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