The Technique of Inner Action: The Soul of a Performer's WorkThis 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. |
From inside the book
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Page 23
... beat begins with a new action or a new mood , and we can identify new beats by that change of mood or action and often by the coming or going of a character . The flow of action is not limited to one action per beat . A sin- gle speech ...
... beat begins with a new action or a new mood , and we can identify new beats by that change of mood or action and often by the coming or going of a character . The flow of action is not limited to one action per beat . A sin- gle speech ...
Page 26
... beat , but I think it is a gen- tle scolding . There is anger in Merrick in this beat as well as sad- ness , but the self - satisfaction he accuses Treves of is not some- thing Merrick finds in himself . In beat 2 I would choose to ...
... beat , but I think it is a gen- tle scolding . There is anger in Merrick in this beat as well as sad- ness , but the self - satisfaction he accuses Treves of is not some- thing Merrick finds in himself . In beat 2 I would choose to ...
Page 31
... beats . Beat 1 : " O , reason not the need ! " I want to appeal to the daugh- ters ' generosity in a sweet and loving and fatherly way as in , " Sweetheart , it's not need . " Take her hand . Appeal . Beat 2 : " Our basest beggars Are ...
... beats . Beat 1 : " O , reason not the need ! " I want to appeal to the daugh- ters ' generosity in a sweet and loving and fatherly way as in , " Sweetheart , it's not need . " Take her hand . Appeal . Beat 2 : " Our basest beggars Are ...
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Common terms and phrases
accept achieve Acting activities actor actor playing anger appropriate articulate Arts audience authentic beat become begin behavior believe Books bring character character's choice choose circumstances collaborative comes concern confusion Consider craft created creative decide define develop director emotional entire event everything example experience exploration expression external fact feel flow flow of inner follow forms give given Hamlet hand happen human ideas important inner action intention interest interpretation intuitive keep kind Lady leads lines lives look Macbeth master meaning mind move movement never objective ourselves performance play playwright possibilities preparation Press problem pursue reason rehearsal requires response risk says scene script sense Shakespeare skilled speech spontaneous stage Stanislavski stop struggle success superobjective talking task teachers technique of inner tells theater thing true trying understand York
References to this book
Theater: sound space, visual space International Federation for Theatre Research Limited preview - 2003 |