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 28
... release the discus , not throw it , not twist it , flick it , or in any way 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 ...
... release the discus , not throw it , not twist it , flick it , or in any way 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 ...
Page 37
... releasing one thought and collecting the next . This process of release and new impulse clarifies thought and delivery . We can perhaps imagine each new idea shooting down- wards from above like a dart , stimulating us into action . The ...
... releasing one thought and collecting the next . This process of release and new impulse clarifies thought and delivery . We can perhaps imagine each new idea shooting down- wards from above like a dart , stimulating us into action . The ...
Page 38
... release . The actor expresses emotion by apparently restraining it . We guess what the emotion may be by his disguise of it , and if he then has to release pent - up feelings , according to the demands of the play , a deep resistance to ...
... release . The actor expresses emotion by apparently restraining it . We guess what the emotion may be by his disguise of it , and if he then has to release pent - up feelings , according to the demands of the play , a deep resistance to ...
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