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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This is the performance plane where intuitive acting is appropriate. When the
actor risks spontaneous and collaborative responses— while respecting and
doing everything that has been rehearsed— theater comes alive. It is at these
The whole scene demonstrates improvisational performance. People generally
rely on their spontaneous responses in situations like that. We risk those
responses because it works. Performers must learn to develop that same
confidence in ...
When we learn to prepare ourselves physically, emotionally, and intellectually for
the moment the performance begins, we will move from feeling pressure to
perform— which is natural — to the state of unself-conscious readiness before