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 25
... 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 bring the body upright and so forth . This ...
... 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 bring the body upright and so forth . This ...
Page 28
... position , we expand to the limits of our physical periphery and the discus flies out of our hand . After it has been released from our hand we must watch it in flight , following its journey with our eye . This feeling of unwinding ...
... position , we expand to the limits of our physical periphery and the discus flies out of our hand . After it has been released from our hand we must watch it in flight , following its journey with our eye . This feeling of unwinding ...
Page 29
... 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 ...
... 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 ...
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