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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We have to make sure we know the lexical meaning of Shakespeare's words. So
Macbeth is asking Seyton why. Why was there a cry? He is told flatly that, "The
Queen, my lord, is dead." No mincing around with Seyton: "The screaming means
An extraordinary thing happens when people find themselves solving the
problems of Shakespearean language and style: ... If the conventional attitudes of
the general population toward Shakespeare are any guide, the revelation of his
40 In a conversation between Ian McKellen and John Barton, McKellen says, "
Motivation is not a term that Shakespeare's actors would have understood. But
the feeling behind what 'motivation' means . . . Shakespeare and his actors would