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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The experience of a flow will leave the participants with a feeling of exhilaration,
and that feeling is the touchstone of the process. They can judge their experience
by the degree of elation or joy they feel when it ends. The opposite is also true: ...
... which the individual allows unwanted information coming in from experience to
block and frustrate objectives, or optimal experience, in which the individual
learns to control her response to incoming experience so that unwanted
The sounds of snoring will only validate the actors' own experience. True, they
will feel badly ... Have you gone to see a dramatic play and experienced each
new scene as real, but couldn't remember the preceding one? The scenes