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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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 maintain her adolescent self-centered behavior.
Furthermore, his behavior would be different yet again if he decides he wants to
toy with or tease her. ... Suppose, after preliminary study, we decide that Hamlet
is the protagonist— not much uncertainty about that— and that he wants to ...
Another actor might decide that Hamlet's task is to defend his mother from an
unknown intruder or spy, an action resulting in yet another and different kind of
behavior. In the case of the undone Ophelia, now a victim of the corrupt state, the