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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If the playwright structured the piece around a character (a protagonist), I like to
begin with a question such as, Whose play is it? and, What does that character
want to do? That is to say, Who are the protagonists of the work? Although I ...
... confidence in performance. Like the walkers on the city sidewalk, our
performance risks seem less risky as confidence in our inner resources grows.
And when we finally learn our true worth, the sense of risk disappears. We begin
When we learn to prepare ourselves physically, emotionally, and intellectually for
the moment the performance begins, we will move from feeling pressure to
perform— which is natural — to the state of unself-conscious readiness before