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 13
Unfortunately, this level of acceptance may be too extreme; there is a general
perception that the craft of acting is an external craft. While I hope to change that
perception, there is no argument in this book about the value of external training.
Because of the neglect of the technique of inner action, even some theater
people believe that actors have no craft for evoking the authentic inner self. The
myth that all of this is a divine mystery and that as a result we mustn't be too
We need words, and until we put the flow of inner action into words we are at the
mercy of wild talent. Like all craft, the purpose of the technique of inner action is
to put a bridle on that wildness so that it will behave as and when we wish.