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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Faking an improvisation is disconcerting and annoying to watch. A truly
spontaneous flow entertains and fascinates onlookers. An example of this
behavioral fluency that we have all experienced is infectious laughter. Two
people talking ...
These two combatants cannot improvise because they are not collaborators. ...
learned that the performer must accept and work with responses, with what they
get from their partner, a rule every improvisational performer accepts as canon
How is this different from so-called "free" improvisation— the improvisation
without a script? Fundamentally there is no difference. Free improvisation
emerges from life knowledge, from the unconsciously well rehearsed life. When
we do not ...