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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That choice will decide the meaning of the playwright's words. The interpretation
of a playwright's work arises from the inner actions the director and actor choose.
I want to emphasize this most important point: The actor gives meaning to words
How the Actor Gives Meaning to Words Think of the simple phrase "I love you."
We have all played with phrases like it, placing emphasis on different words and
deriving different meanings from them as in I love you, or I LOVE you, or I love ...
It is also another example of how actors give meaning to words. It is at this point,
well after decisions about inner actions have been taken and will be executed,
that the director begins to block the show. The most artful blocking connects with