MODULE 2: PREPARATION

A Guide to Units

Imagine taking on a role like Hamlet or Saint Joan. The very thought terrifies actors. For
most it’s a good fear, but it’s still a formidable task that when you look at it in its entirety
is daunting. However, to perform a scene or monologue from either play is much more
manageable. To break that scene or monologue into units once again makes it even
more manageable. Like with any complex task, breaking things down into smaller
pieces will help you .

Dividing your scene or monologue into units or units of action, as they are sometimes
referred to, is a great way to break your text into more manageable sections. I define
units as “new information”. This can be tough in a monologue. Another way to look at it
is looking for significant changes of energy. You will start to work out unit changes
instinctively as you become more accustomed to the technique.

“...an actor must proceed, not by a multitude of details, but by those important
units which, like signals, mark his channel and keep him in the right creative line.”
Stanislavsky
The Process
#1 Read the monologue
Get familiar with the monologue and the broader story it’s from. You need to know this
to be able to understand exactly what’s happening in the monologue

#2 Unit the text

Using our above definition of “new information” or “significant changes of energy” mark
out the units. Make the units clearly defined on your script.

#3 Number your units

This is a simple step that allows you to see where the units are.

#4 Name the units

Arguably the most important step, name all your units. Be creative and try to think of a
name that summarises the unit. You can use a line from the script, or be creative. I
prefer creative choices over factual names.

Factual: “Talking to father”

Creative: “The first words”

Note: each unit can have it’s own objective, or you can work to an overall monologue
objective. Find out what process works for you.

Conclusion
Uniting a text is a great, simple approach to make a monologue or scene more
manageable. It helps you see the gear shifts in the work, and also helps you truly
understand what is happening in the scene. Once you’ve done the work you can let it
go. You don’t need to go on stage completely conscious of every single unit.

“...the division [into units] is temporary. The part and the play must not remain in fragments.
A broken statue, or a slashed canvas, is not a work of art. It is only in the preparation of a
role that we use small units. During its actual creation they fuse into large units.”