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 33
... speech engendering an inner vitality in which the listener can bask . Living thoughts need living speech , and these two qualities combined create dramatic life and the world of drama . What is the difference between everyday ...
... speech engendering an inner vitality in which the listener can bask . Living thoughts need living speech , and these two qualities combined create dramatic life and the world of drama . What is the difference between everyday ...
Page 37
... speech transparent - that is to say , we are letting light shine through the speech . This requires the same sort of agility and concentration as that practised by musicians . Not only in speech , but also in thought and movement , such ...
... speech transparent - that is to say , we are letting light shine through the speech . This requires the same sort of agility and concentration as that practised by musicians . Not only in speech , but also in thought and movement , such ...
Page 66
... speech out in dumb show . This practice will freshen the dynamic of the speech , giving it that quality of moving forward to form the thought . Finally , the speech can be delivered without showing out- wardly the movement of the ...
... speech out in dumb show . This practice will freshen the dynamic of the speech , giving it that quality of moving forward to form the thought . Finally , the speech can be delivered without showing out- wardly the movement of the ...
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