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 4
... situations and conversations in an increasingly true - to - life manner . The excite- ment engendered in the theatre ... situation ? This question still needs to be resolved . Its answer will surely provide some idea of where we are at ...
... situations and conversations in an increasingly true - to - life manner . The excite- ment engendered in the theatre ... situation ? This question still needs to be resolved . Its answer will surely provide some idea of where we are at ...
Page 8
... situation . Even the situation becomes ' absurd ' , as Camus would describe it , and we are left with ourselves as no more than reacting human substance . At the beginning of this century , many streams of artistic thought repulsed the ...
... situation . Even the situation becomes ' absurd ' , as Camus would describe it , and we are left with ourselves as no more than reacting human substance . At the beginning of this century , many streams of artistic thought repulsed the ...
Page 61
... situation , such as the feeling ' I'm going to fall ' , or ' I'm beginning to feel ill with fear ' , but for the most part you are totally engrossed in the situation . To objectify it would somehow place you in greater mental danger ...
... situation , such as the feeling ' I'm going to fall ' , or ' I'm beginning to feel ill with fear ' , but for the most part you are totally engrossed in the situation . To objectify it would somehow place you in greater mental danger ...
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