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 must understand that the only appropriate inner actions to take into
performance are those that the characters are struggling to achieve. The actor
has a responsibility to discover those other inner actions — often unconscious —
that apply ...
I like to think of these subsidiary actions as "tactics" that help him to achieve his
main strategy: to avenge. Some call these changing inner actions subobjectives,
a term that neatly describes their relationship to the superobjective. An interesting
They are intent because they are struggling to achieve their intentions, their inner
actions. They are focused because they want to do something! They make their
struggle to achieve take place in front of us. We stay awake because pursuing an