The Technique of Inner Action: The Soul of a Performer's Work
This book focuses on the inner work of a performer. It takes up where Stanislavski's study of inner work left off and then expands inner action into a comprehensive discipline for developing an inner technique as precise and concrete as those use to develop external skills like voice and movement. Bill Bruehl argues that authentic emotions are expressed when performers focus on the internal aspirations of their character and on the flow of actions in the play. Mastery of inner action allows a performer to interpret a character with clarity, maximize creative potential, and insure authentic expression of emotion and spontaneity in performance.
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34 In the late 1920s, says Fergusson, Richard Boleslavsky and Maria
Ouspenskaya "taught us that in finding the action of a character in a play, the only
way to indicate it was by means of an infinitive. . . . Hence the action of Three
Sisters is to ...
37 Boleslavsky is onto it, but he still doesn't make a clear-cut distinction between
action and behavior when he says that the actor "acts" the action. Nevertheless,
the need to clarify inner action is certainly what Boleslavsky is trying to get the ...
32. Ibid., 99. 33. Ibid., 143. 34. Francis Fergusson, "The Notion of 'Action,'" 85. 35.
Ibid., 86. 36. Ibid. 37. Richard Boleslavsky, Acting: The First Six Lessons, 55. 38.
Ibid., 56. 39. Ibid., 57. 40. John Barton, Playing Shakespeare, 9. 41. Ibid., 10-11.