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 rewarding, if uncanny, part is that, if risked, the true spontaneous and
collaborative response will always be ... When the actor risks spontaneous and
collaborative responses— while respecting and doing everything that has been ...
Without the response-reaction flow between and among the players you have
mere robot behavior. You might as well put machines on that stage. To play with
a partner is to respond to that partner, to risk your own spontaneous response.
Spontaneity always feels good. If the response is not spontaneous it will generate
discomfort or self-consciousness. Consider pedestrians on a ... People generally
rely on their spontaneous responses in situations like that. We risk those ...