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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Her performances are supposed to be excitingly sensual and supple but had
become formal and distant though quite correct. When we began to work on the
inner actions of one of her characters, a palpable change instantly occurred.
actor has become somebody— which after all is the objective of the art! She has
become Lady Macbeth. 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.
We become the action. We become what shopping is. Through the action we
become what we want to be. We just say "I'm shopping." Think of ... We then
become congruent, focused, and capable of spontaneity. Stephen