2. OBJECTIVES OF THE LECTUREโฆ
๏ข To identify Stanislavskiโs techniques and be able to
define them.
๏ข To be able to apply the techniques to a character.
๏ข To evaluate the process that an actor must go
through in order to perform a naturalistic character
effectively
3. STANISLAVSKIโS METHOD.
๏ข NOT to be confused with Method acting (Lee
Strasberg).
๏ข Stanislavskiโs method simply asks the performer to
create a mental link โ using the characters thought
process as influence, not using the process itself!
4. 3 CORE ELEMENTS TO STANISLAVSKI'S
METHOD.
๏ข Objective:
๏ What the character wants
๏ข Obstacle:
๏ What is stopping the character
๏ข Method:
๏ How the character achieves the objective
๏ข An actor can discover these 3 elements by going
through the script and finding the key factors of
their character.
5. OBJECTIVE
๏ข To identify the objective clearly, a scene must be
divided into โbeatsโ or โbitsโ.
๏ข A โbeatโ or โbitโ is determined by change in
objective. Objectives can be defined as
๏ Action
๏ Emotion
๏ Dialogue
6. OBJECTIVE WORDS
๏ข This concept states that it is the actors job to
understand the key motivation in every piece of
text.
๏ข If an actor understands the meaning behind each
line, the emotion and action will follow naturally.
๏ข This is the basic practice in Stanislavskiโs Method.
7. SUPER OBJECTIVE
๏ข This is a constant objective, everything in the piece
drives towards this super objective.
๏ข Examples of a super objective:
๏ Revenge in Hamlet
๏ Consequences of Actions in Romeo & Juliet
๏ Contrast in Social Class in Blood Brothers
8. GIVEN CIRCUMSTANCES
๏ข These are the facts given to the actor by the
playwright in the textโฆ
๏ข THEY ARE UNCHANGEABLE!!
๏ข These can be any number of things:
๏ Date/Period of piece
๏ Location
๏ Gender, name and age of a character
๏ Social class
9. OBSTACLES AND METHODS WITHIN A SCENE
๏ข An obstacle is what prevents the character from
reaching their objective. Obstacles can be a great
number of things.
๏ข E.g. A man is making a cup of coffee (Objective), the
kettle is empty (Obstacle).
๏ข These obstacles can be dealt with in 3 different ways.
๏ Give up on the objective.
๏ Find a way around the obstacle.
๏ Carryโs on regardless of the obstacle.
๏ข A characters reaction to an obstacle is key to
discovering their base. If they give up, we know that
they are likely to be lazy, easily discouraged.
๏ข This is key to Stanislavskiโs Method, as itโs basis relies
on defining how and why a character gives a specific
response
10. INTERNAL MONOLOGUE
๏ข This is also known as โSubtextโ.
๏ข Actorโs must understand the internal monologue โ
the meaning behind the text.
๏ข To truly understand the characters reaction, we
must understand the reasons for this reaction. By
looking at subtext we are able to decipher these
meanings.
๏ข Some reactions natural while others are
spontaneous โ this is known as semi-constant flow
of events. These spontaneous actions often differ
after each performance of a piece, creating a
feeling of reality. Stanislavskiโs Method attempts to
mimic this reality.
