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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It is at these moments that the hairs rise on the back of the audience's necks. ...
develops confidence and authority that allow actors to respond to one another
and also to audiences and any other element that impinges on the performance.
These descriptions of the actor's work from the audience's point of view always
seem to have been concerned with feeling ... And later, the English critic William
Archer replied in Masks or Faces to Diderot but speaks from the same audience ...
I like to think that when actors come out for a curtain call, they come to present
themselves for the audience's authentic response to their work. They come
before the audience to take responsibility for their actions. They may deserve