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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As we'll see in a later chapter, the technique of inner action is a creative process
that can help the actor probe creative possibilities in rehearsal. Directors who
employ the technique of inner action in rehearsals never plague their actors with
The Right and Wrong Kinds of Inner Action While some masters of Western
theater may have recognized the value of Stanislavski's insight, few in the rest of
the world have seen its relevance. I want to emphasize that the technique of inner
A dancer of exceptional grace, elegance, and discipline, Supriya was also
initially skeptical that the technique of inner action might be applicable to Kathak.
However, after some discussion she thought it might affect her work and agreed