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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Easy choices do not stimulate the creative imagination. As we'll see in a later
chapter, the technique of inner action is a creative process that can help the actor
probe creative possibilities in rehearsal. Directors who employ the technique of ...
... deepest searching into our own creative resources. It is not an idle hobby, a
game of small worth, or an entertainment for our ego. To act is to take on a
responsibility to audiences and self, to fellow actors, to the director and
playwright, and to ...
Creative work is play; it is free speculation using the materials of one's chosen
form. The creative mind plays with the objects it loves. Artists play with color and
space. Musicians play with sound and silence. Eros plays with lovers. Gods play