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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From the perspective of craft it is misleading for an actor to think of being Lady
Macbeth in Macbeth. Instead, an actor can only understand her background and
what she wants to do and then to find, articulate, and execute the actions that ...
She has become Lady Macbeth. Good. So the audience thinks the actor has tried
to be that which she has become. Wrong. The skillful actor has not tried to do that.
That transformation is an illusion, magician's work, and it doesn't help the ...
She then goes on to list some of the given circumstances of the play and tells us
how Lady Macbeth "used her affection for [Macbeth] as a means to satisfy her
ambition." She says that Lady Macbeth took advantage of his fascination for her