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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Now decide that, no matter what, you will move that top joint and nothing else on
that hand. Your inner action is to wiggle ... Just hold out your hand palm up and
make sure nothing else moves while you wiggle that top joint. No success yet?
We should not decide where to move actors simply because of vague notions of
stage imagery or timing or "how good" the move feels. Ignoring inner action leads
to arbitrary and irrelevant choices. It is bad directorial craft. No Scene Without ...
Not only are they moving in two directions, they come from all sides: from building
entrances, from across the street, from automobiles at the curb. They come along
singly and in groups. They move at all speeds. Some run. Some barely move.