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.
Results 1-3 of 3
The Right and Wrong Kinds of Inner Action While some masters of Western
theater may have recognized the value of Stanislavski's insight, few in the rest of
the world have seen its relevance. I want to emphasize that the technique of inner
Hira Panth is also a director and dramaturg with an MFA in theater. ... which was
already a marvel of grace and beauty, into something immediately accessible
and moving for Western audiences naive in the traditions of classic Indian forms.
True, classical Chinese opera might seem more unlike Western forms than any
other kind of theater, but the basic dramatic circumstances are still in play: a
central character faces difficulties trying to get that to which he aspires. How
about Noh ...