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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Not only should the actor not go on stage trying to be somebody else, she
shouldn't go on stage worrying about being angry or loving or confused or any of
the other complex emotional states we are heir to. Katherine in The Taming of the
We will go into the history of this matter in a later chapter, but I'd like to take a
moment and point out a fact of theater ... She goes on stage determined to
execute the actions that drive the character, those unseen inner actions that are
like your ...
An actor must never go on stage wanting to impress his audience, "get it right," "
do his best," "do a feeling," or pursue a personal aspiration. Our problem is that
we tend to overlook the fact that all performances embody inner actions of some ...