1. •L.O. To identify Stanislavski’s techniques
and be able to define them.
•To be able to apply the techniques to a
character.
•To evaluate the process that an actor
must go through in order to perform a
naturalistic character effectively.
Stanislavski (In More Detail)

2. Three Core Elements
 To begin employing the Stanislavski method,
actors generally go over the script very carefully,
looking for key identifying factors.
 A performer discovers what a character wants,
what prevents the character from getting it, and
what means the character will use to achieve this
goal. These concepts are frequently referred to as
"objective," "obstacle," and "method."
 Actors must also determine the given
circumstances of every scene, such as where the
scene takes place, what is in the room, and what
is going on in the outside world.

3. Objectives
 To identify the objective clearly, the actor must
break down a scene into “beats” or “bits,” which
are short sections that end with each change of
objective.
 In a basic example, if a character pours a cup of
coffee, answers the phone, and then runs
screaming out of the house, the scene has at
least three separate beats. At the bare
minimum, the objective changes from pouring
coffee, to answering the phone, to getting out of
the building.
 Beats are not determined on action
alone, however, and may be based on a change

4. Super Objective!
 This is also referred to in some books as the
SUPER TASK. The Super Objective is the main
theme of the play. The subject of the play.
Everything drives toward the Super Objective.
 Some examples:
 Hamlet: Revenge
 The Crucible: Good vs Evil
 Blood Brothers: ?

5. Given Circumstances
 The given circumstances are the character details
in the script - the facts the playwright gives the
actor. They are unchangeable. Focus attention on
the Geographical, Social and Historical elements
in the script.
 Sample questions to ask:
 Where am I?
 What is my specific location?
 What year is it?
 What relationships do I have?
 What has happened before the play begins?

6. Objectives
 Actors can define objectives even within
individual lines of dialogue, based on a concept
called “objective words.” It is the actor’s job to
understand and play the character’s objective not
only in the entire play or film, each scene, and
each beat, but also in each line.
 Determining what the key motivation is behind
each line is a basic practice in the Stanislavski
method.

7. Obstacles and Methods Within a
Scene
 Obstacles are things preventing a character from
achieving his or her objective. In the previous
scene, if the character trips while trying to run, it
would present an obstacle to the objective of getting
out of the house.
 Obstacles are dealt with through one of three
methods: the character gives up the objective
because of it, finds a way to go around it, or plunges
along regardless.
 The method a character chooses in dealing with
obstacles gives great insight into that character; the
basis for much of the Stanislavski method lies in

8. The Internal Monologue
 Understanding the objectives and methods of a
character allows a performer to create an internal
monologue for that character.
 Real people typically have a semi-constant flow of
thoughts going on in their minds, and the
Stanislavski method attempts to create a similar
internal monologue for a character.
 This technique helps each action feel as if it comes
spontaneously, rather than simply because the script
says it should happen.
 Actors also use this monologue to help them prevent
a scene from becoming repetitious or dull even after

9. Differences from "Method
Acting"
 Due of its emphasis on realism, the Stanislavski
method is often used in modern plays, film, and
television.
 It should not be confused with Lee Strasberg’s
“Method Acting,” however, which involves an
actor attempting to completely become a
character.
 The Stanislavski method maintains that a
performer must remain somewhat separate from
the character, in order to properly understand his
or her motivations and goals.

10. Stan Quotes
 Here are a few quotes from Stanislavsky himself about
acting and creating a character.
 "In the creative process there is the father, the author of
the play; the mother, the actor pregnant with the part; and
the child, the role to be born."
 "Love the art in yourself, not yourself in the art"
 "What does it really mean to be truthful on stage? Does it
mean that you conduct yourself as you do in ordinary life?
Not at all. Truthfulness in those terms would be sheer
triviality. There is the same difference between artistic and
inartistic truth as exists between a painting and a
photograph: the latter produces everything, the former only
what is essential; to put the essential on canvas requires
the talent of a painter.“
 "Put life into the imagined circumstances and actions until
you have completely satisfied your sense of truth.“

11. More Stan Quotes
 "If you know your character's thoughts, the proper vocal
and bodily expressions will naturally follow."
 "When we are on stage, we are in the here and now."
 "One must not confuse the 'theatrical' with what is truly
theatrical. The theatre undoubtedly demands something
special that is not to be found in life. So the task is: to bring
life to the stage, while avoiding the 'theatrical' (which
destroys life) but at the same time respecting the nature of
the stage itself."
 "Imagination creates things that can be or can happen."
 "Create your own method. Don't depend slavishly on mine.
Make up something that will work for you! But keep
breaking traditions, I beg you."
 AND…
 "There are no small parts. Only small actors."