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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Oedipus's actions have nothing to do with pleasing anybody. I believe that apart
from external ineptitude, most bad acting arises from the performer's confusion of
the actor's and the character's inner action. Actors and directors and teachers ...
Because all we know about Trigorin is Chekhov's code for the creation of the
character, the playwright and I will create this Trigorin together, applying the inner
actions found in the given circumstances of Chekhov's script. From the
Bad or mediocre performances — apart from problems of external technique —
are those in which the performer consciously or unconsciously employs an
inappropriate action. An actor's action rather than a character's action is