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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This next scene has no literary or even dramatic merit , but it was written out of
the two elements we have been discussing , asserting / overwhelming . Try and
work out of these two elements in the scene bringing the sense of outer activity ...
First mime the action , with someone softly reading the text to guide us through
the scene . Then we can perform the scene in our gibberish , colouring the
progressive change of attitude as it develops , by using the appropriate vowel
In this final chapter I am setting out two scenes , one for two men , the other for
two women . They are simple scenes , written in an ordinary conversational style .
I have coined a phrase to describe this kind of scene — ' deductive drama ' .
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Effective Speaking in the Theatre
The Wind Machine
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