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
We begin to resist and push against the wind . So first we are carried into the
centre of the hall or stage , and then we turn and push against the wind . Perhaps
we fall back and begin to be carried away again but resist and push . From this ...
It is really a form of withdrawing from a situation , person or object , but instead of
retiring from it we push away what antagonizes us . We push or fling something
away or , in certain circumstances , fling ourselves away from what we reject , as
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Effective Speaking in the Theatre
The Wind Machine
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