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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Actors are occasionally listed on performance programs as "The Players," and
the German word for actor is Spieler, literally "player." Actors play, and playing is
a certain kind of action. Performing is not about "being." Actors act, dancers
Without the response-reaction flow between and among the players you have
mere robot behavior. ... must risk the spontaneous response because it is only by
responding to the partner's performance that a performer earns the title of player.
The player concentrates on actions in response to fellow players. The player is
comfortable and easy. The goofer is uncomfortable and uneasy. When we learn
to prepare ourselves physically, emotionally, and intellectually for the moment the