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 eminent theater artists of the twentieth century who have validated
Stanislavski's advice about inner action, look to Michel Saint-Denis, Jerzy
Grotowski, Bertolt Brecht, Morris Carnovsky, Elia Kazan, Vakhtangov, and even
Archer, William.  1957. "Masks or Faces." In A Dramabook, intro. by Lee
Strasberg. New York: Hill and Wang. Arnold, William. 1978. Shadowland. New
York: McGraw-Hill. Bakshy, Alexander. 1918. The Path of the Modem Russian
In A Dramabook, intro. by Lee Strasberg. New York: Hill and Wang. Duerr, Edwin.
1962. The Length and Depth of Acting. New York: Holt, Rinehart and Winston.
Easty, Edward D. 1966. On Method Acting. New York: House of Collectibles.