Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives", "obstacles" and "tactics".
Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives", "obstacles" and "tactics".
Valerie Clayman Pye is an Assistant Professor of Theatre in the School of Performing Arts at LIU Post, where she teaches Acting, Voice, and Speech, and Shakespeare in Performance. She is the author of Unearthing Shakespeare: Embodied Performance and the Globe (Routledge 2017). Hillary Haft Bucs is an actor/improviser, playwright, and director. She is an Associate Professor of Theatre at Western New England University where she teaches Acting, Improvisational Comedy, and Playwriting.
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ACKNOWLEDGMENTS Introduction PART I Playing Objectives Chapter 1 Money in Your Pocket: Meisner, Objectives, and the First Six Lines DENNIS SCHEBETTA Chapter 2 Psychological Gesture: Michael Chekhov Exercises on Physicalizing the Objective ANJALEE DESHPANDE HUTCHINSON Chapter 3 Making Sport of Objectives: Teaching through Student-Developed Physical Competition JOHN KAUFMANN Chapter 4 Structured Improvised Scenes TIMOTHY JOHNSON Chapter 5 Scoring the Un-Scorable MARIA PORTER Chapter 6 Creating a Physical Score in a Snap: Using Social Media to Appeal to the Smartphone Generation TOM PACIO PART II Overcoming Obstacles Chapter 7 Engaging Obstacles KEVIN HOFFMANN Chapter 8 Active Obstacle Image Scoring DAVID HUGO Chapter 9 Resistance JANET HAYATSHAHI Chapter 10 Returning the Dress: Demonstrating Objectives, Obstacles, and Tactics DAVIDA BLOOM Chapter 11 Improvised Fantasies: Heightening Objectives and Obstacles in Scene Work HILLARY HAFT BUCS Chapter 12 Optimizing the Obstacle: Using Indicators of Csíkszentmihályi's Flow to Help Select, Test, and Experience Stanislavski's Obstacles FABIO POLANCO AND DIANE BONFIGLIO PART III Identifying Tactics Chapter 13 The Tag-tic that Works LYNN DEBOECK Chapter 14 Improvising Tactical Choices Based on Status or "Who's Driving the Dramatic Action Bus?" JEAN DOBIE GIEBEL Chapter 15 Transformational Tactics: Engaging Students in the Heroic Pursuit of Their Objective KIM SHIVELY Chapter 16 Hunter/Hunted: Experiential Learning and the Actor's Craft VALERIE CLAYMAN PYE Chapter 17 Tactics and Action Drives: Stanislavski Meets Laban CONRAD ALEXANDROWICZ Chapter 18 Stanislavski in the Voice Studio DERIC MCNISH Chapter 19 Stimulating Embodied Tactical Actions LESLEY-ANN TIMLICK Chapter 20 NRGs and the Nature of Action: The Lessac Tactic Circle CAROLINE GOOD Chapter 21 Relaying Action - from Breath to Text AARON ALPERN AND REBECCA COVEY Chapter 22 Using Improvisation to Identify Tactics NATHAN STITH Chapter 23 Activating the Actor with Game Theory: Using Gamification to Create Playable Tactics on Stage JEANNE LEEP AFTERWORD Chapter 24 Recording Truth: The Camera in Acting Training WELKER WHITE CONTRIBUTOR BIOGRAPHIES CHAPTER ABSTRACTS INDEX
ACKNOWLEDGMENTS Introduction PART I Playing Objectives Chapter 1 Money in Your Pocket: Meisner, Objectives, and the First Six Lines DENNIS SCHEBETTA Chapter 2 Psychological Gesture: Michael Chekhov Exercises on Physicalizing the Objective ANJALEE DESHPANDE HUTCHINSON Chapter 3 Making Sport of Objectives: Teaching through Student-Developed Physical Competition JOHN KAUFMANN Chapter 4 Structured Improvised Scenes TIMOTHY JOHNSON Chapter 5 Scoring the Un-Scorable MARIA PORTER Chapter 6 Creating a Physical Score in a Snap: Using Social Media to Appeal to the Smartphone Generation TOM PACIO PART II Overcoming Obstacles Chapter 7 Engaging Obstacles KEVIN HOFFMANN Chapter 8 Active Obstacle Image Scoring DAVID HUGO Chapter 9 Resistance JANET HAYATSHAHI Chapter 10 Returning the Dress: Demonstrating Objectives, Obstacles, and Tactics DAVIDA BLOOM Chapter 11 Improvised Fantasies: Heightening Objectives and Obstacles in Scene Work HILLARY HAFT BUCS Chapter 12 Optimizing the Obstacle: Using Indicators of Csíkszentmihályi's Flow to Help Select, Test, and Experience Stanislavski's Obstacles FABIO POLANCO AND DIANE BONFIGLIO PART III Identifying Tactics Chapter 13 The Tag-tic that Works LYNN DEBOECK Chapter 14 Improvising Tactical Choices Based on Status or "Who's Driving the Dramatic Action Bus?" JEAN DOBIE GIEBEL Chapter 15 Transformational Tactics: Engaging Students in the Heroic Pursuit of Their Objective KIM SHIVELY Chapter 16 Hunter/Hunted: Experiential Learning and the Actor's Craft VALERIE CLAYMAN PYE Chapter 17 Tactics and Action Drives: Stanislavski Meets Laban CONRAD ALEXANDROWICZ Chapter 18 Stanislavski in the Voice Studio DERIC MCNISH Chapter 19 Stimulating Embodied Tactical Actions LESLEY-ANN TIMLICK Chapter 20 NRGs and the Nature of Action: The Lessac Tactic Circle CAROLINE GOOD Chapter 21 Relaying Action - from Breath to Text AARON ALPERN AND REBECCA COVEY Chapter 22 Using Improvisation to Identify Tactics NATHAN STITH Chapter 23 Activating the Actor with Game Theory: Using Gamification to Create Playable Tactics on Stage JEANNE LEEP AFTERWORD Chapter 24 Recording Truth: The Camera in Acting Training WELKER WHITE CONTRIBUTOR BIOGRAPHIES CHAPTER ABSTRACTS INDEX
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