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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In the course of events Masha, while always yearning for Trepleff, marries
Medvedenko, bears his child, and lives with him with growing contempt. Young
Trepleff, having lost Nina to Trigorin, immerses himself hermitlike in his writing
where he ...
It is a mere matter of about ten speeches between Masha and Medvedenko. He
begins the play by asking Masha, the woman he wants to win, why she always
wears black. She tells him she is in "mourning for her life. I'm unhappy." When he
We don't know it yet, but the not-very-smart Medvedenko — who has come to
woo Masha — is reminding his would-be love that in just a moment she will see
her true love working with her rival! In the meantime, Medvedenko complains