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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Just as bricklayers build walls with individual bricks, so do playwrights build
scenes with individual sections called beats.7 A new beat begins with a new
action or a new mood, and we can identify new beats by that change of mood or
I think he might scold in the next beat, but I think it is a gentle scolding. There is
anger in Merrick in this beat as well as sadness, but the self-satisfaction he
accuses Treves of is not something Merrick finds in himself. In beat 2 I would
choose to ...
I have divided this part of the monologue into seven beats. That means ... Here is
one set of possible choices of action for these seven beats. Beat 1 ... Beat 3: "
Allow not nature more than nature needs, Man's life is cheap as beast's." Validate