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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To play with a 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.
flow will strengthen the willingness of partners to trust and collaborate. The
experience of a flow will leave the participants with a feeling of exhilaration, and
that feeling is the touchstone of the process. They can judge their experience by
They have not yet learned that the performer must accept and work with
responses, with what they get from their partner, a rule every improvisational
performer accepts as canon law. The Willingness to Explore, Test and Evaluate
What is this ...