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
Results 1-3 of 10
Page 25
... 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 sort of ...
... 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 sort of ...
Page 49
... push against the wind . Perhaps we fall back and begin to be carried away again but resist and push . From this simple exercise we begin to get a feeling of being ' overwhelmed ' or of ' asserting ' . We can transform the pressing or ...
... push against the wind . Perhaps we fall back and begin to be carried away again but resist and push . From this simple exercise we begin to get a feeling of being ' overwhelmed ' or of ' asserting ' . We can transform the pressing or ...
Page 72
... push away what antagonizes us . We push or fling something away or , in certain circumstances , fling ourselves away from what we reject , as in leaving the room , flinging oneself out of the house , and so on . At first glance this ...
... push away what antagonizes us . We push or fling something away or , in certain circumstances , fling ourselves away from what we reject , as in leaving the room , flinging oneself out of the house , and so on . At first glance this ...
Contents
The Foundation | 12 |
Effective Speaking in the Theatre | 31 |
The Wind Machine | 49 |
Copyright | |
5 other sections not shown
Other editions - View all
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