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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Some of his students were quick to pick up on his thinking, as Francis Fergusson
tells us in an essay titled "The Notion of 'Action.'"34 In the late 1920s, says
Fergusson, Richard Boleslavsky and Maria Ouspenskaya "taught us that in
finding the ...
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. 42. Ibid. 43. Ibid., 16. 44. Ibid.
Edwards, Christine. 1965. The Stanislavsky Heritage. New York: New York
University Press. Fergusson, Francis. 1966. "The Notion of 'Action.'" In
Stanislavski and America: An Anthology from The Tulane Drama Review, edited
by Erika Munk.