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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Only by analyzing the given circumstances of the play and choosing inner actions
compatible with those circumstances can the actor hope to honor the playwright's
intention, and this is a wispy hope at best. The "intentional fallacy" is an old ...
Feelings are part of the given circumstances implied by the entire script. We have
to decide, name, and choose what a character feels, but that is the intellect at
work and is different from the pure, raw, emotional expression. The feelings I
He is telling us to identify the given circumstances and the subtext. But that is not
enough and not a very clear definition of action. He says that the actor needs to
know the given circumstances, which is the necessary first step, but is he saying ...