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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Life is meaningless, a shadow, a strutting and fretting player soon gone from the
stage." I think we could have played all of those Macbeths in school that day. By
doing so we would have felt the excitement and vitality embodied in that short ...
This exchange can happen with blinding speed. Having heard, felt, or seen the
gift of a response, our unedited self responds and drives the interaction, freeing
the performers from trying to "take it somewhere." To collaborate within that flow