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.
Results 1-3 of 15
These are not the specific, animated, concrete verbs that define character.
Oedipus wants to purify the city. We do not want to sit in the audience and watch
him trying to please or to obey. Such a performance would make no sense.
Though it ...
Katherine, the "shrew," is a powerful character. It would be easy for some to
decide that she is the protagonist of The Taming of the Shrew because she fights
so hard to keep men at a distance. Others might decide that she wants to
Suddenly, filled with enthusiasm, they want to go on and do more and maybe—
such fools we mortals are— become ... tells them to learn to work with objectives:
"Figure out what your character wants to do, find the action, articulate it, and do it.