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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The actor ' s speech commanded his space and held the audience still and silent
, and no doubt he used the emphatic and effective style of the story - teller and
the epic speaker . I feel sure that those trained in ' eloquence in the sixteenth ...
We must add to this description , however , the fact that drama developed three
distinct styles . The first style was that of the epic speaker , the reciter or story -
teller . Then there was what was called the lyric or declaiming style ; the
This style would in turn stimulate the will of the listeners , and so they too could
create inner pictures . The lyric speaker , the singer , pouring out his heart to the
listener , was not concerned with the past or with pictures but with his present
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Effective Speaking in the Theatre
The Wind Machine
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