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 last thing in the world Oedipus wants to do is to please his director or to look
good for his audience. Oedipus doesn't give a damn about pleasing or looking
good. He will purge at any price. His determination to do so is part of his tragedy.
The Simplest Things Are the Hardest to Master One of the easiest things for most
people to do is say what we want to do. Or is it? Persons coming to the craft of
inner action for the first time often find the technique difficult to master. They are ...
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 ...