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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Actors must understand their own process, and the reality is that no actor, despite
any individual genius, should ever try to be anyone other than him or herself. It is
impossible. The only person I can be is me. I can't be Trigorin in The Seagull.
Because all we know about Trigorin is Chekhov's code for the creation of the
character, the playwright and I will create this Trigorin together, applying the inner
actions found in the given circumstances of Chekhov's script. From the
Trigorin is a successful writer and womanizer who seduces Nina away to
Moscow for what proves to be a short-lived ... Young Trepleff, having lost Nina to
Trigorin, immerses himself hermitlike in his writing where he finds some success