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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Was he with his singing and chanting and his stepping in his thicksoled boots
while moving his head this way and that , directing the fixed expression of his
mask ? During the play he often performed two or three characters , each with the
And we have experienced the first stage of a sense of movement ' . Now if the
sensation of stepping , walking or running is transferred to speaking , we develop
a lively form of articulation . We call it ' stepping through the line ' . We can speak
We can take simple lines that create , through their rhythm , the sensation of
stepping through the words . This quality of stepping through needs to be
retained even for the most mundane , arbitrary or broken dialogue , as we saw
earlier in this ...
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The Wind Machine
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