The Technique of Inner Action: The Soul of a Performer's WorkThis 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. |
From inside the book
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Page 15
... script determines how the actor will execute the action . That choice will decide the meaning of the playwright's words . The interpretation of a playwright's work arises from the inner actions the director and actor choose . I want to ...
... script determines how the actor will execute the action . That choice will decide the meaning of the playwright's words . The interpretation of a playwright's work arises from the inner actions the director and actor choose . I want to ...
Page 19
... script and not treat that script as a literary text . Those who are concerned with the process of turning a script into perfor- mance have to see it as a structure of action . Literary notions about the dramatic text are seldom ...
... script and not treat that script as a literary text . Those who are concerned with the process of turning a script into perfor- mance have to see it as a structure of action . Literary notions about the dramatic text are seldom ...
Page 38
... script they please . There is an idea out there that playwrights are theatrically inept and possessed of flawed vision . Directors have to see that the key to their work with the script is in the inner action . We should not decide ...
... script they please . There is an idea out there that playwrights are theatrically inept and possessed of flawed vision . Directors have to see that the key to their work with the script is in the inner action . We should not decide ...
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accept achieve Acting activities actor actor playing anger appropriate articulate Arts audience authentic beat become begin behavior believe Books bring character character's choice choose circumstances collaborative comes concern confusion Consider craft created creative decide define develop director emotional entire event everything example experience exploration expression external fact feel flow flow of inner follow forms give given Hamlet hand happen human ideas important inner action intention interest interpretation intuitive keep kind Lady leads lines lives look Macbeth master meaning mind move movement never objective ourselves performance play playwright possibilities preparation Press problem pursue reason rehearsal requires response risk says scene script sense Shakespeare skilled speech spontaneous stage Stanislavski stop struggle success superobjective talking task teachers technique of inner tells theater thing true trying understand York
References to this book
Theater: sound space, visual space International Federation for Theatre Research Limited preview - 2003 |