Professional Documents
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Stanislavski
INTEGRATED LEARNING EXPERIENCES
Week 1
Introduction to Konstantin Stanislavski and his System
Teachers access YouTube and the class watches the following piece:
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:
Then with this research create a brochure for a Konstantin’s Acting School – complete with
contact numbers, place and blurb about the school.
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.
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.
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:
• effective acting skills
• effective synthesis of:
– script analysis
– character
– elements of drama
– stagecraft
– dramatic meaning.
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.
Monologues:
Cohen, L. 1994, Monologues for Young Actors, Avon Books, New York.
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_perviz/Stanislavski.pdf
http://method.vtheatre.net/stanislavsky.html
Staging:
Props & Costumes
Audio/visual effects
Rostra Boxes
Flats
Technology:
Internet
Word Processing
Microsoft Office
Data projector with screen/whiteboard
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.
2. Self Evaluation (5%) – completion of a worksheet evaluating your acting preparation and
final performance.
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
- Sound understanding of the monologue, but unable to explore the script in any depth
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