The Technique of Inner Action: The Soul of a Performer's WorkThis 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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Page 54
... partner is to respond to that partner , to risk your own spontaneous response . And I will emphasize again that all of this is done without changing the objectives and moves and timing that were set with the director in rehearsal . Play ...
... partner is to respond to that partner , to risk your own spontaneous response . And I will emphasize again that all of this is done without changing the objectives and moves and timing that were set with the director in rehearsal . Play ...
Page 65
... partner has lost contact , that the partner is no longer responding with full concentration , or that some- thing else has caught the partner's attention , spontaneity will fail . The fluidity of action depends on the total ...
... partner has lost contact , that the partner is no longer responding with full concentration , or that some- thing else has caught the partner's attention , spontaneity will fail . The fluidity of action depends on the total ...
Page 67
... partner , leaving passivity as an unsatisfactory alternative . Whenever a partner chooses either passivity or domination , mutual spontaneity ends . Once the actor develops a flow of responses , the work seems effortless . Even apparent ...
... partner , leaving passivity as an unsatisfactory alternative . Whenever a partner chooses either passivity or domination , mutual spontaneity ends . Once the actor develops a flow of responses , the work seems effortless . Even apparent ...
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accept achieve Acting activities actor actor playing anger appropriate articulate Arts audience authentic beat become begin behavior believe Books bring character character's choice choose circumstances collaborative comes concern confusion Consider craft created creative decide define develop director emotional entire event everything example experience exploration expression external fact feel flow flow of inner follow forms give given Hamlet hand happen human ideas important inner action intention interest interpretation intuitive keep kind Lady leads lines lives look Macbeth master meaning mind move movement never objective ourselves performance play playwright possibilities preparation Press problem pursue reason rehearsal requires response risk says scene script sense Shakespeare skilled speech spontaneous stage Stanislavski stop struggle success superobjective talking task teachers technique of inner tells theater thing true trying understand York
References to this book
Theater: sound space, visual space International Federation for Theatre Research Limited preview - 2003 |