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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And what does Macbeth say? Does he get upset? Not likely. Instead, he says
what may be the most extraordinary thing in this whole beat, a statement that
Father didn't even think worth our attention: "She should have died hereafter;
Hortensio begs her to "say as he says," at which point Katherine yields totally: "
Forward, I pray since we have come so far." Is that the event? No, since she could
still be in opposition. But then she says, "And be it moon, or sun, or what you ...
37 Boleslavsky is onto it, but he still doesn't make a clear-cut distinction between
action and behavior when he says that the actor "acts" the action. Nevertheless,
the need to clarify inner action is certainly what Boleslavsky is trying to get the ...