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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... Ron Leibman tells us that his director, George Wolfe, encouraged him to make
his Roy Cohn less bludgeoning and more plaintive. ... "I'm playing the same
notes," Leibman says, "But a lot of Roy's anger has become a kind of pleading.
His is not an intuitive approach and it's worth noting that his effort won him the
Antoinette Perry Award in 1 993 for his performance of Roy Cohn. How the Actor
Gives Meaning to Words Think of the simple phrase "I love you." We have all ...
If I am an old buddy of the real Roy Cohn, I may not cheer Ron Leibman's prize-
winning performance, but I might applaud because all around me applaud.
Audience response is no reason for actors to fail to risk total acceptance of self.