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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The essential first step for performers is to eliminate from the mind the idea that
skilled actors spend their time trying to be somebody other than themselves. We
have to remember that at a fundamental level performance is about working with
actor has become somebody— which after all is the objective of the art! ... The
skillful actor has not tried to do that. ... Only the skilled performer who works with
carefully articulated and rehearsed inner actions can be sure consistently to
Even better, actors should develop the skill of mastering accents. The accents of
a skilled actor are like a closet of costumes ready for whatever occasion. None of
them are inherently bad. What happens when we take the risk to use those ...