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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Their discussions always and understandably concentrated on the psychology of
emotion itself. How do we as actors feel? What do we feel? What is feeling? Can
actors fool the audience? Do actors perform only the physical signs of feeling?
Know the given circumstances and struggle for your action (or intention/objective)
and the expression of genuine feeling will happen automatically. This is a point of
major importance, first articulated by Stanislavski. The skilled actor preparing ...
If the objective of the actor playing Hamlet is to feel, he would give a bad
performance for two reasons. ... In the second place, trying to enact a feeling state
has the tendency to lead actors to portray the stereotypical idea of what a feeling