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 can become like the musician who can on the one hand hear a tone in
his imagination and then play it , or on the other hand play a tone first and then
evoke an experience from the tone . The ability to live in experiences like this is ...
There are four ingredients in producing the speaking voice : breath , tone , with
which we are familiar ; movement in space ; and consonantal form which takes
hold of the breath - system , i . e . , articulation projected onto the moving breath ...
Then we can perform the scene in our gibberish , colouring the progressive
change of attitude as it develops , by using the appropriate vowel sounds . Next
we may mime the action , but gently sing the vowel sounds as a tone - key for ...
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Effective Speaking in the Theatre
The Wind Machine
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