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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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 . The actor ' s speech ...
Though delivered in a manner completely in opposition to the techniques of
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
This I have found to be a most accurate description of what an actor can possess
in his speaking . In England , our more mature actors and actresses have
something of that quality in their traditional speaking . In the past , the manner in
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Effective Speaking in the Theatre
The Wind Machine
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