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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Continued work on the piece may yield new conclusions, especially when all the
actors get involved exploring the possibilities of their assigned roles. Because the
acting company as a whole has a major stake in the outcome of the project, ...
We might wish to explore other possibilities such as to destroy, redeem, punish,
or master the situation. Each of these would certainly produce very different
Hamlets. Exploring each of them in rehearsal would tend to deepen the actors' ...
What she can do by articulating and pursuing the character's appropriate inner
actions is incarnate the playwright's concept, and that's all. This simple fact gives
the actor enormous possibilities. Streep can incarnate Hamlet. Her Hamlet will