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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Actors and directors and teachers must become aware of the possibility of this
confusion. Once aware of the ... The last thing in the world Oedipus wants to do is
to please his director or to look good for his audience. Oedipus doesn't give a ...
It is at this juncture that the director comes into the business of dealing with the
technique of inner action. Acting: Beyond the Text The task isn't finished when the
actor chooses his inner action. He also has his director to deal with. Do they ...
Directors should embrace the technique of inner action. The more the director
works with the structure of action and plays with possible choices of action the
more she will find in the script to illuminate the script. If she works with her actors