UNIT TITLE
Acting Methods and Styles
LESSON TITLE
Introduction to the Unit/Stanislavsky
CLASS
Drama 4
DURATION
75 Minutes
EDUCATIONAL OBJECTIVE
Students will be able to demonstrate their current understanding of various acting methods and styles by participating in the “Balderdash” pre-assessment activity.
NATIONAL THEATRE ARTS CORE STANDARDS
CREATING
• TH:Cr1.1.HSIII.a
o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work
• TH:Cr3.1.HSIII.b
o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work.
PERFORMANCE
• TH:Pr4.1.HSII.b
o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.
• TH:Pr5.1.HSIII.a
o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.
MATERIALS
• Pre-made “correct” answers for Balderdash (you can just cut out the answers attached to this lesson)
• An empty cardboard box.
• A copy of the “Stanislavski System” for each student.
TEACHING PRESENTATION:Hook:
Explain that we are going to play a little game called Balderdash! First, split students into groups. Count them off into 4 or 5 groups, or split them however you feel is necessary.
Step 1: Instruction Once groups have been created assign each group and even number of the names/terms listed below:
• Konstantin Stanislavski
• The Stanislavski System
• Uta Hagen
• Theatre of the Oppressed
• Method Acting
• Viola Spolin
• Augusto Boal
• The Rainbow of Desire
• Lee Strasberg
• Stella Adler
• Meisner Technique
• Bertold Brecht
• The Magic “What If”
• Emotional Recall
• Sense Memory
• Jonzi D
• Second City
Explain that each group member needs to write a definition for the term. If they know the term, then only one person should write the correct definition. Explain that they are trying to fool their classmates into thinking their definition is right. So, when all is said and done, each member of the group should have written their own definition for the term. Explain that it would be nice if they could write neatly, so that you can read them. Answer questions, then proceed.
Step 2: Work time Allow students time to work on their bogus answers. Walk around and offer help and ensure students are completed the task as it was instructed to them. After a few minutes, ensure all of the students have finished their bogus answers.
Step 3: Game Explain that you will call each term up, one at a time. You will collect all the bogus terms from the group that was assigned it, and throw them into a cardboard box (or some similar container) along with the right answer. The box is so students cannot see which piece of paper you are reading from. You will read each answer, then allow the students to guess. Have the class vote, if necessary, but let majority rule on the final answer. Once they’ve picked, you can share the correct answer with the class.
NOTE: Students will not pick the right answer, usually. It’s surprising because the right answer just feels so right. But they will fall for many of the tricks of their fellow students. Feel free to add anything to the list that you feel is necessary.
Once students are clear on the instructions, play the game! Go through each term until you have covered all the terms.
NOTE: This is your chance to understand what students are familiar with and/or not familiar with. Pay attention to each student as they respond, as their responses will allow you to better gauge their understanding.
Step 4: Instruction Once the game wraps up and students have been given enough time to transition themselves, explain that we are not embarking on a unit that is a little longer than our normal ones. In this unit we are going to start with recent theatre and trace many of the artists, methods, and styles that have developed over the century or so.
Explain that for the next several weeks, we are going to be examining acting methods and styles through the eyes of theatre artists. From here on out, we are a group of theatre artists who are trying to explore our craft. Ask the students, “Why is it important as theatre artists to know methods, styles, or techniques?” Take a few ideas. Then remind the students again that as we move forward, we aren’t a class of high school-ers anymore, but we are theatre artists who are exploring our craft.
Step 5: Lecture With that in mind, you can return to where you left off. You may ask the students where theatre originated, and they should answer, “Greece!” Then explain that we aren’t going back that far but instead we are going to start with a man names Konstantin Stanislavski. Give the students some of the following information.
• Born in 1863
• Stanislavski, pioneer of realism in theatre movement.
Ask the students the following question:
• Who knows what realism is? In Theatre?
o Realism is about making the stage action represent everyday life.
Get a few answers from the students then continue on with the following information and questions:
• Stankislavski is really the foremost pioneer in Realistic Acting.
o Based on what you know about realism, what does realistic acting mean?
• Stanislavski as an actor, but he was freaked out that he felt dead onstage. He didn’t feel real, so he spent a lot of time researching, watching actors, and developing what is known now as the Stanislavski system.
• What do you know about the Stanislavski System?
Again, take a few responses then move onto the next section:
• The S. System is about working from the inside out. He writes that technique is really the most important part about acting. The most talented actors have the most technique.
o However, Stanislavski says that the system is merely a means to an end. It won’t make you a great actor. He doesn’t really believe acting can be taught.
o He also says that his system shouldn’t be the end all be all, however it has sort of become that way.
o Many of our modern acting styles and methods have stemmed from Stanislavski.
At this point hand out the Stanislavski System handout and conduct the following discussion:
• What do you notice?
• Is there anything you recognize? Anything familiar?
Students might be a little overwhelmed by this diagram. That is just fine. In fact, that is the point. Let them see the complicated system and then explain that they do not need to know everything. However it is a good visual representation of all the work that Stanislavski says you should be doing. 90% of the performance should be work and technique, and 10% should be talent, as Stanislavski says. Explain that students should hang onto the Stanislavski System handout for next time.
Step 6: Assignment Explain to the students that need to locate a monologue to use in class. They should find it and start memorizing it. The monologue should be somewhat realistic meaning, they shouldn’t play a character who is dead, who is an animal, who is over ten years older then them, etc. Provide students with suggestions as necessary, however the choice of a monologue should not be something the students slave over too much. As long as they have something they connect to and that they could realistically play, they will be fine.
Allow student the last few minutes of class to start searching for those monologues. They should have them chosen by next class period.
Assessment:
Student’s participation in the Balderdash Activity is worth 20 points for each student.