The Technique of Inner Action: The Soul of a Performer's WorkThis 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. |
From inside the book
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Page 9
... Stanislavski noted this resistance among the actors he worked with . It is a resistance that causes some acting ... Stanislavski began talking about what I call inner action in the early part of the century . He used the term objectives ...
... Stanislavski noted this resistance among the actors he worked with . It is a resistance that causes some acting ... Stanislavski began talking about what I call inner action in the early part of the century . He used the term objectives ...
Page 10
... Stanislavski's insight , few in the rest of the world have seen its relevance . I want to emphasize that the ... Stanislavski her- itage is the persistent canard that the whole " Stanislavski System " is training for realism or ...
... Stanislavski's insight , few in the rest of the world have seen its relevance . I want to emphasize that the ... Stanislavski her- itage is the persistent canard that the whole " Stanislavski System " is training for realism or ...
Page 13
... Stanislavski's ideas have influenced those traditions in any way , the answer is always no . The assumption is that his work has nothing to offer classic Asian forms . Properly understood , Stanislavski's insight about inner action has ...
... Stanislavski's ideas have influenced those traditions in any way , the answer is always no . The assumption is that his work has nothing to offer classic Asian forms . Properly understood , Stanislavski's insight about inner action has ...
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Common terms and phrases
accept achieve Acting activities actor actor playing anger appropriate articulate Arts audience authentic beat become begin behavior believe Books bring character character's choice choose circumstances collaborative comes concern confusion Consider craft created creative decide define develop director emotional entire event everything example experience exploration expression external fact feel flow flow of inner follow forms give given Hamlet hand happen human ideas important inner action intention interest interpretation intuitive keep kind Lady leads lines lives look Macbeth master meaning mind move movement never objective ourselves performance play playwright possibilities preparation Press problem pursue reason rehearsal requires response risk says scene script sense Shakespeare skilled speech spontaneous stage Stanislavski stop struggle success superobjective talking task teachers technique of inner tells theater thing true trying understand York
References to this book
Theater: sound space, visual space International Federation for Theatre Research Limited preview - 2003 |