Konstantin Stanislavski's System

A unit is a portion of a scene that contains one objective for an actor. In that sense, a unit changes every time a shift occurs in a scene. Every unit had an objective for each character. This objective was expressed through the use of an active verb.

When objectives are strung together in a logical and coherent form, a through line of action is mapped out for the character. The objectives, when strung together, reveal the superobjective, the logical, coherent through line of action. The superobjective is the “final goal of every performance”.

To analyze an action three questions should be answered to understand the main idea of a script.

What does the character do?
Why does the character do it
How does the character do it?

The actor answers the question, “If I were in this situation what would I do?” The actor who has the ability to make the audience believe in what he/she wants them to believe, achieves “scenic truth”.

The more fertile the actor’s imagination, the more interesting the choices made in terms of objectives, physical action and creating the given circumstances around the character.

Subtext referred to the meaning lying underneath the text/dialogue. This subtext is not spoken, but interpreted by the actor through intonation, gesture, body posture, pauses or choices in action. Subtext and dialogue may not be consistent with each other, but subtext must always be consistent with the objective.

Motivation or “will” is driven by physical actions. Motivation is based on subtext and hidden meanings which are important to achieving psychological realism. The question

“Why does the character do it?” can provide motivation for the actor.

Inner attention is based on an imaginary life created by an actor that is consistent with the given circumstances of the script. This inner attention incorporates all the five senses of the actor. As an imaginary life depends on imaginary circumstances, an ‘inner attention’ therefore is extremely important to the actor.

With External Attention the actor’s concentration is directed towards material objects. If actors observe an object intensively enough, a desire would arise in them, to do something with it. This would in turn, intensify the observation and help develop an action with it.

In order to achieve control of all motor and intellectual faculties, the actor needed to relax his muscles. Muscular tautness interferes with inner emotional experience.

To be in communion with a scene partner, an actor must be aware of their scene partner’s presence, and actively transmit images to them through spoken words and unspoken actions which would then stir the imagination of their scene partner and create strong communion.

Adaptation depends on the actor’s interaction with others and the adjustments that would have to be made to overcome obstacles in order to achieve their objective. Adaptation is dependent on communion and allows the actor to transmit unspoken actions and communicate subtext.

Tempo refers to the speed of an action. Rhythm is the pattern of gestures, movements and actions. Tempo and Rhythm make for organic actions and assist in stirring an actor’s emotions.

An actor’s body and voice are the physical apparatus that are needed to fully express every nuance and subtle shade of character. Physical gestures should not be mechanical but must be purposeful and truthful.

Using an event from the distant past in order to regenerate the feelings experienced from that time, allowing the actor to stir the needed emotion in themself by remembering a parallel situation having a similar emotion.