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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Throwing a spear or a discus in turn arouses a feeling for weight and of flight .
This experience later improves our throwing , developing a sense of throwing
before we throw . ( We shall come to this again in the next chapter . ) This process
Discus throwing Discus throwing releases energy into an expanding horizon ,
and develops the ability to handle ... Then comes the great secret ; that is , to
release the discus , not throw it , not twist it , flick it , or in any way give it a final “
push ' .
This is where we come back to our spear throwing ( see pp . 28 - 9 ) ; the
educationalist Rudolf Steiner described how the ancient Greeks included spear
throwing in their gymnastics to develop good public speaking . Preparation ,
Action and ...
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Effective Speaking in the Theatre
The Wind Machine
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