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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It isn't behavior. The purpose of behavior—the purpose of any activity on stage—
is to express inner action. When the actor playing a cop chases, arrests, and
interrogates a criminal, the cop is performing activities. These activities are the ...
Others might decide that she wants to maintain her adolescent self-centered
behavior. Some might say she is trying to hide her fear of growing up. However, if
the director decides that Petruchio is the protagonist, which of these very different
Hamlet's behavior in that case could well take on the stony detachment of an
insect exterminator. Another actor might decide that Hamlet's task is to defend his
mother from an unknown intruder or spy, an action resulting in yet another and ...