Stanislavsky held that each character in a play had an objective – something very specific that they were trying to achieve within each scene. In the larger picture, he believed that there was one larger objective that carried the character through the play – he called this the ‘super objective’.
Motivation is what drives the character and what makes them want the things they want. The Stanislavski System teaches an actor to break down the text of the play into smaller beats and identify what their character wants (objective), anything standing in their way (obstacles), and how they are going to get what they want (tactics). In addition, he believed it was crucial to understand the thought process of the character to learn why their objective is important to them and what drives them to get what they want.
Given Circumstances
- the plot, every thing in the play is a circumstance which the character must know how to interpret their action
Units of Action
- Are things that build up to the supper objective.
- Scene within a scene.
Magic 'If'
- What actors need to use when they put themselves in a situation, but as their characters.
Motivation is what drives the character and what makes them want the things they want. The Stanislavski System teaches an actor to break down the text of the play into smaller beats and identify what their character wants (objective), anything standing in their way (obstacles), and how they are going to get what they want (tactics). In addition, he believed it was crucial to understand the thought process of the character to learn why their objective is important to them and what drives them to get what they want.
Given Circumstances
- the plot, every thing in the play is a circumstance which the character must know how to interpret their action
Units of Action
- Are things that build up to the supper objective.
- Scene within a scene.
Magic 'If'
- What actors need to use when they put themselves in a situation, but as their characters.
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