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
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Page 6
... speaking ? I believe the speaking at that time , with those plays and in that theatre , must have been paramount as the instrument of drama . It could not have been roaring , for Hamlet is very critical of such speaking on the stage ...
... speaking ? I believe the speaking at that time , with those plays and in that theatre , must have been paramount as the instrument of drama . It could not have been roaring , for Hamlet is very critical of such speaking on the stage ...
Page 33
... speaking in the theatre , I could still appreciate the power of his voice . Not only was there the strength , but in his case the technique of passion . In the theatre we work with a different technique , but if developed it would also ...
... speaking in the theatre , I could still appreciate the power of his voice . Not only was there the strength , but in his case the technique of passion . In the theatre we work with a different technique , but if developed it would also ...
Page 100
... speaking . In England , our more mature actors and actresses have something of that quality in their traditional speaking . In the past , the manner in which actors formed their speech might have seemed quaint to our ears , but they had ...
... speaking . In England , our more mature actors and actresses have something of that quality in their traditional speaking . In the past , the manner in which actors formed their speech might have seemed quaint to our ears , but they had ...
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 actresses ancient Greek antipathy appears artist attitude audience become begin behaviour breath bring centre character Clifford consonants create dactyl Dactylic Hexameter dance DAVID dead deed DESDEMONA discus Discus throwing drama duologue dynamic Eurythmy exercise experience expression familiar FATHER fear feeling forward GHOST give GLOUCESTER Greek gymnastic HAMLET hand hard palate Hecuba hexameter hold human imagination inner invisible gesture inwardly JULIET Konstantin Stanislavsky LADY listener live lyric MACBETH mime monophthong mood MOTHER mouth move movement nature OTHELLO perform physical play push release rhythm Romeo Rudolf Laban Rudolf Steiner scene sense silence situation soft palate sorry soul space speaking spear thrower speech spoken spondee stage stand STELLA stepping story-teller style syllable theatre thou thought throwing thrust stage tone Tybalt V V V V voice weight word wrestling