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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D I am amazed , amazed to hear you say such a thing ! E Never , never , never in
a thousand years , would I agree to such a thing . F Couldn ' t we try to reach to
reach some arrangement , come to — come to some agreement ? G For God ' s ...
B Why bother to think carefully ; I can feel that it would be better to leave things as
they are . A No ! Sometimes you make me so angry ! B I make you angry ! I
sometimes wonder why I ever talk to you . A All right , all right . Let ' s start again .
deed , just as real as running or moving things , or any other visible gesture . If
the actor speaks his lines as if they were stepping or dancing out before him ,
then what he says becomes important to the listener . If he breathes out the words
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Effective Speaking in the Theatre
The Wind Machine
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