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 15
The second principle is that the truly spontaneous response will always be
appropriate. I'll repeat that. The truly spontaneous response is always
appropriate, without qualification. And how do you know it was appropriate?
What is the test?
The wise performer will keep a defensive armor available, choosing vulnerability
only when vulnerability is appropriate and maintaining guardedness, caution,
and a clear-eyed skepticism when caution is appropriate. The often-disregarded
These are descriptions of contrasting behaviors— one negative, the other
positive, one inappropriate, the other appropriate. Spontaneous behavior occurs
within the flow and is always appropriate. Impetuous behavior happens outside
of the ...