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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Good. So the audience thinks the actor has tried to be that which she has
become. Wrong. The skillful actor has not tried to do that. That transformation is
an illusion, magician's work, and it doesn't help the actor to think as the audience
Charles's action is to warn Mike about Ann. If we now put all of this into
performance the audience will sense conflict immediately from the behavior of
the actors that arises from those inner actions. More than that, the audience will
want to ...
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.