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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Only by analyzing the given circumstances of the play and choosing inner actions
compatible with those circumstances can the actor hope to honor the playwright's
intention, and this is a wispy hope at best. The "intentional fallacy" is an old ...
In beat 2 I would choose to scold gently out of a love mixed with anger. I can hear
somebody saying, "You said you don't worry about feelings and here you are
talking about love mixed with anger." A good objection. Feelings are part of the ...
The subtext is what is important and the subtext that I choose is to play. Masha
might want to ... Productions of this play choosing to open with the saddest and
most morose expressions possible make a bad choice. It is a choice that makes it