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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I identify the event as that precise moment in a scene that 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.
He is telling us to identify the given circumstances and the subtext. ... She then
goes on to list some of the given circumstances of the play and tells us how Lady
Macbeth "used her affection for [Macbeth] as a means to satisfy her ambition.
The seventeenth-century English actor Thomas Betterton is probably saying the
same thing when he 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 ...