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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Is that Oedipus's primary objective, his most important inner action? Maybe. The
first task of the actor ... My method of identifying the super- objectives is to ask
why this character would carry out these actions. Why does he want to find the
They sign up for an acting class where they meet someone who tells them to
learn to work with objectives: "Figure out what ... As I pointed out earlier, they
often seem to know their character's objective on some level but don't know how
to put ...
38 When the young actress asks how the actor keeps performing that objective,
Boleslavsky says, "I would make them remember it. I would ask them to have it
behind every curse, every quarrel, every disagreement."39 Ben Kingsley put it