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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We have to make ourselves vulnerable to ourselves. We have to find the
willingness to express everything that is us, both the negative and the positive.
We have to come to see that everything about us is a resource, including those
aspects of ...
As artists we can only pledge ourselves to suppress our fears and risk the truthful
performance. Fear weakens. It brings on the painful paralysis of self-
consciousness, which smothers us if called upon to speak when we are
unprepared to ...
When we do not accept ourselves totally, we tend to shy away from spontaneous
behavior and fear or distrust any responses we might make. We seek external
authority or rigid formulas to reassure ourselves and end our anxiety. The failure