| A | B |
|---|
| Stanislavski (birth-death) | 1863-1938 |
| Stanislavski | Founded Moscow Art Theatre |
| Stanislavski Method | Revolutionized theatrical performances |
| The Body | When there are no words, use this to speak. |
| Russia | Where Stanislavski was an actor and director |
| the character's background | Stanislavski said actors should create this to understand a character |
| Concentration of Attention | Small circles, medium circles, large circles - help with FOCUS |
| Emotional Memory | Using an experience from real life to create authentic emotions |
| Super-Objective | The OVERALL goal of a character throughout the play |
| Through Line of Action | The path the character takes to try and achieve the super-objective. |
| Tempo-Rhythm | The natural movement of a character. (fast, slow, average) |
| "Magic IF" | What would I do IF I was in the character's situation. |
| Use IMAGINATION | USE this to create character details before the start of the play. |
| Communion | Actors in a scene must be in complete _______ by listening, understanding, etc. |
| Given Circumstances | Focusing on the situation to get into character. |
| OBJECTIVE | What a character wants |
| OBSTACLE(s) | What is preventing the character from getting what he/she wants. |
| Tactic/Method | What the character does to achieve the goal. |
| Internal Monologue | The thoughts of a character throughout a scene- when the character isn't speaking. |
| FIVE senses | USE What you SEE, SMELL, HEAR, TASTE, and FEL to make the scene more real. |
