stanis

1. UNIT: Creating A Character using
Stanislavski
INTEGRATED LEARNING EXPERIENCES
Week 1
Introduction to Konstantin Stanislavski and his System
Teachers access YouTube and the class watches the following piece:
Student short film on Stanislavski
http://www.youtube.com/watch?v=0ad2koOHwhg&feature=related
Film on Modern Theatre & Realism
http://www.youtube.com/watch?v=zrIsTzcq5O8&feature=related
Students make notes or mind maps on the two films, noting the features of Stanislavski’s
acting system and that of modern theatre and realism.
Student research exercise using internet and Microsoft Publisher. Students construct a
brochure on Stanislavski and his System for a theoretical Acting School (‘his’ acting school)
Use the following headings for your research:
1. Who was Konstantin Stanislavski?
- Place of birth
- Family background
- Acting experience
- What he did for work
2. Stanislavski System
- What is it?
- How does an actor use it?
3. A Brief outline of some exercises
Outline/explain the following Stanislavski exercise:
- Given Circumstances
- Objectives
- Magic If
- Emotional Memory
- Inner monologue
4. Find an image of Konstantin Stanislavski
Then with this research create a brochure for a Konstantin’s Acting School – complete with
contact numbers, place and blurb about the school.
(students complete for H/W)
Investigating the technique

2. Teachers access YouTube and the class watches the following piece:
Example of an actor who uses the system/method – Robert DeNiro
http://www.youtube.com/watch?v=jhV0b_Yhe-c
Students make notes or mind map on the excerpt regarding the acting process of the actor.
The class shares their responses and discusses the ideas on acting raised in this investigation.
Weeks 2-4
Understanding the process of characterisation
Students create a range of characters over the first weeks of the unit from simple
improvisations, working with bare text and then working on short scenes (in groups, pairs and
individually). They create layers to characters they devise from scripts by focusing on voice,
movement, spatial relationships and status. The students can participate in hotseating
activities to develop characters further.
Student’s participation in class discussions and activities will reveal their understanding of
the importance of effective characterisation.
Students use the internet to find excerpts of actors discussing acting, information on
Stanislavskian acting methods.
The teacher introduces the concept of realism as a performance style. Some contextual
information is given about its historical and theatrical context. Students engage in research
focusing on Stanislavski and the style of realistic acting.
In a series of practical workshops the teacher leads the students through basic script
techniques and Stanislavskian methods:
 Creating a script book
 Using stage geography
 Blocking
 Developing character profiles
 The given circumstances
 Motivation
 Objectives – units, beats and transitive verbs
 Subtext
 Emotion memory
 Magic If
 Personal Props
 Circles of Concentration
 Considering timing, action/reaction, tempo.
Students will be asked to apply these techniques and experiment with characters. As students
work ‘on the floor’, they are asked to consider how the activities help create ‘realistic’ and
‘believable’ characters.
Students can find or the teacher can provide film excerpts of realistic acting in performance.
These can be used to highlight key teaching concepts relating to characterisation and realism
as a performance style.

3. Students show an understanding of the characterization processes through practical
experimentation with characters
Weeks 5-8
Creating performance
Students will be provided with a monologue that they will be working on. Students will spend
time planning how to apply the process of characterisation and the basic Stanislavskian
techniques to their piece.
During the development of their monologue the students will be asked to analyse their
performance and reflect on ways to develop their characters further.
Students rehearse their piece through to performance, as they work, thinking about
manipulation of the elements of drama to effectively engage their audience. Students will
then perform this piece for their class and give critical feedback to each other based on their
understandings of realistic acting techniques.
Script to Performance
Students begin a process of script analysis and rehearsal to create a performance based on a
chosen monologue. Chosen monologues should be based on student interests and abilities
and/or monologues written for teenagers. Students participate in activities and the rehearsal
process with increasing confidence and proficiency.
Teaching and learning activities may include:
 Group discussion and analysis of scripts based on prior learning
 Students breakdown the scripts into units and beats
 Students identify their character’s objectives and use transitive verbs
 Character Profiling
 Methods on memorising lines e.g. Italian Run, In the style of..(use different genre to
make learning line more fun)
 Experimenting with audio/visual effects
 Experimenting with blocking and stage design
 Peer feedback of group performance during rehearsal
Students record, recount and reflect on their experiences in logbooks.
Final rehearsals
In the final rehearsals the students rehearse and refine their performance. They articulate an
increased understanding of the process of scripted performance and the process of creating a
realistic character.
Teaching/learning activities may include:
 examining character intentions, objectives, status, voice, and physicalisation
 refinement of stagecraft and lines
 achieving clarity of dramatic meaning through peer observation and discussion.
Students record, recount and reflect on their experiences in logbooks.
Week 9
Performance
Students perform their monologue to a chosen audience and use costumes, lights and music if
appropriate. The final in-class performance time could be approximately 1 to 3 miniutes each
monologue.
Students confidently perform realistic and sustained character demonstrating:

4. • effective acting skills
• effective synthesis of:
– script analysis
– character
– elements of drama
– stagecraft
– dramatic meaning.
Assessment for Learning Activity
Assessment of learning task will focus on the three practices of making, performing and
appreciating drama. The final performance will show students’ abilities to use Stanislavski’s
methods to create believable and unique characters for live performance.
Week 10
Evaluating the ‘system’ and performance
The reflections within their log will be evidence of their engagement with concepts and
techniques within the unit.
Students will undertake the process of appreciation by objectively discussing the process and
performance of their work using corrective terminology. They evaluate and critically analyse
the audience response.
RESOURCES:
Books:
Clausen, M. 2003, Centre Stage, Heinemann, Port Melbourne.
McGuire, B. 2001, Technical Companion to Drama, Pearson, Cambridge.
Stanislavski, K., An Actor Prepares
Tourelle, L & McNamara, M. 2003, Performance: A Practical Guide to Drama, Heinemann,
Port Melbourne.
Monologues:
Cohen, L. 1994, Monologues for Young Actors, Avon Books, New York.
Karshner, R. 1999, More Monologues for Teenagers, Dramaline, California.
Pomerance, S. 2002, Teen Talk: Modern Monologues for Teenage Girls, Dramaline,
California.
Websites:
On Konstantin Stanislavski
http://www.kryingsky.com/Stan/Biography/bot.html
http://www.philipgbennett.com/id3.html
On his technique
http://homepage.smc.edu/sawoski_pe rviz/Stanislavski.pdf
http://method.vtheatre.net/stanislavsky.html

5. Staging:
Props & Costumes
Audio/visual effects
Rostra Boxes
Flats
Technology:
Internet
Word Processing
Microsoft Office
Data projector with screen/whiteboard
Assessment of Learning Strategy
Informal
- Creating a brochure using Microsoft Publisher
- Self and peer evaluations in making activities
- Logbook reflections
- Use internet to research examples of realism, Stanislavski and acting
Formal
- Performance of a script (15%) and an evaluation and analysis of their performance (5%).
Outline of the Task:
To explore how an actor creates a character through building a ‘Character Profile’ based on the
script, your own imagination, observations and acting skill, with the intention of becoming that
character in a short performance task.
There are two (2) parts to the assessment:
Choose a monologue from the 1-6 provided by your teacher, then complete Part 1 & 2
Students will be required to perform the monologue in character (costume, props, stage set, and
lights). You will be assessed by your teacher based on the marking criteria. You will also be required
to complete an evaluation sheet in which you evaluate your own preparation and final performance.
*The Performance will be video taped
BOTH PARTS MUST BE ATTEMPTED TO SATISFACTORILY MEET ASSESSMENT REQUIREMENTS OF THIS
COURSE
Students will be assessed on:
1. Performance of the monologue (15%) – acting skill and interpretation of script onstage
2. Self Evaluation (5%) – completion of a worksheet evaluating your acting preparation and
final performance.

6. MARKING CRITERIA STUDENT NAME: _______________________
(Performance) (15 marks)
15-13 Demonstrates an exemplary ability to realise and sustain a subtly defined
character. Effectively keeps focus whilst demonstrating exemplary performance skills
including vocal and movement appropriate to the style and meaning of the script.
12-10 Demonstrates highly developed ability to realise and sustain a
character. Effectively keeps focus whilst demonstrating highly developed performance
skills including vocal and movement appropriate to the style and meaning of the script,
although some skills may be more refined than others.
9-7 Demonstrates an adequate ability to realise and sustain a character.
Variations may occur in levels of belief/conviction/energy/complexity
and focus. At times shows inconsistencies in focus.
Demonstrates adequate performance skills including vocal and movement appropriate to
the style and meaning of the script, but which vary in their level of delivery in relation to
the conventions of voice and physical acting.
6-4 Demonstrates a limited ability to realise and sustain a character.
Unable to keep focus.
Demonstrates limited performance skills including vocal and
movement which may be inappropriate to the style and meaning of the script.
3-1 Displays little ability to realise and sustain a character showing an unwillingness to
interact with others.
Displays minimal performance skills with little understanding of what is appropriate to
the style and meaning of the script.
(Self Evaluation) (5 marks)
5 - Insightful analysis of the acting process
- Excellent interpretation of the style and meaning of the monologue
- Excellent understanding of the elements of performance
- Ability to communicate effectively in written form in a logical and coherent manner
4 - Meaningful analysis of the acting process
- Good interpretation of the monologue though some subtext unrealised
- Good understanding of the elements of performance
- Ability to communicate effectively in written form in a logical and coherent manner
3 - Adequate analysis of the acting process though demonstrating lack of awareness in
acting technique and characterisation
- Sound understanding of the monologue, but unable to explore the script in any depth
- Sound understanding of the elements of performance
- Generally clear and coherent use of language
2 - Identifies and describes basic acting skills with minimal analysis of characterisation
- Satisfactory understanding of the monologue though lacking the skill to analyse a script
- Some understanding and identification of the elements of performance
- Language characterised by problems with grammar and structure
1 - Limited analysis, mostly descriptive of basic acting skills
- Limited understanding of the meaning and style of the monologue
- Limited understanding of the elements of performance
- Language characterised by limited knowledge of grammar and structure