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. |
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Page 37
... tells us the meaning of the scene . These scene events lead in turn to the principal event of the play — the catastrophe . When Hamlet kills the king , we see the principal event of the play . We learn that he has avenged his father's ...
... tells us the meaning of the scene . These scene events lead in turn to the principal event of the play — the catastrophe . When Hamlet kills the king , we see the principal event of the play . We learn that he has avenged his father's ...
Page 75
... tells us how Lady Macbeth “ used her affection for [ Macbeth ] as a means to satisfy her ambition . " She says that Lady Macbeth took advantage of his fascination for her by " instilling into his mind the virus of crime . " To satisfy ...
... tells us how Lady Macbeth “ used her affection for [ Macbeth ] as a means to satisfy her ambition . " She says that Lady Macbeth took advantage of his fascination for her by " instilling into his mind the virus of crime . " To satisfy ...
Page 76
... tells us that the actor " must adjust every action . . . [ to ] perfectly express the quality and manner of [ his character ] . " 32 He refers to " action " but he does not speak with Ristori's clarity of purpose . On the other hand ...
... tells us that the actor " must adjust every action . . . [ to ] perfectly express the quality and manner of [ his character ] . " 32 He refers to " action " but he does not speak with Ristori's clarity of purpose . On the other hand ...
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Common terms and phrases
achieve actor playing actress anger appropriate articulate audience authentic beat become begin behavior Beijing opera Boleslavsky character actions character wants character's inner actions choice choose craft creative decide develop director drama emotional event experience exploration expression feel flow of action flow of inner flow of responses given circumstances go on stage Hamlet happen Hill and Wang Ibid improvisation intuitive Jerzy Grotowski Katherine Lady Macbeth Lee Strasberg mance Masha master meaning to words Medvedenko Merrick Mihaly Csikszentmihalyi mood Moscow Art Theater move movement Nina objective Oedipus ourselves partner performance Petruchio player playwright possibilities problem protagonist risk Roy Cohn says scene script Shakespeare skilled actor speech spontaneous response Stanislavski Stanislavski System Stanislavski's insight structure of action struggle subobjective superobjective tactics technique of inner theater Theatre Arts Books thing Trepleff Treves Treves's Trigorin trying Tulane Drama Review wants to win York
References to this book
Theater: sound space, visual space International Federation for Theatre Research Limited preview - 2003 |