Objectives Obstacles and Tactics in Practice

<p><em>Objectives, Obstacles, and Tactics in Practice</em> 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."</p><p>The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio.</p><p>An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, <i>Objectives, Obstacles, and Tactics in Practice </i>serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.</p> <p>ACKNOWLEDGMENTS </p><p>Introduction </p><p>PART I Playing Objectives </p><p>Chapter 1 Money in Your Pocket: Meisner, Objectives, and the First Six Lines </p><p>DENNIS SCHEBETTA</p><p>Chapter 2 Psychological Gesture: Michael Chekhov Exercises on Physicalizing the Objective </p><p>ANJALEE DESHPANDE HUTCHINSON</p><p>Chapter 3 Making Sport of Objectives: Teaching through Student-Developed Physical Competition </p><p>JOHN KAUFMANN</p><p>Chapter 4 Structured Improvised Scenes </p><p>TIMOTHY JOHNSON</p><p>Chapter 5 Scoring the Un-Scorable </p><p>MARIA PORTER</p><p>Chapter 6 Creating a Physical Score in a Snap: Using Social Media to Appeal to the Smartphone Generation </p><p>TOM PACIO</p><p>PART II Overcoming Obstacles </p><p>Chapter 7 Engaging Obstacles </p><p>KEVIN HOFFMANN</p><p>Chapter 8 Active Obstacle Image Scoring </p><p>DAVID HUGO</p><p>Chapter 9 Resistance </p><p>JANET HAYATSHAHI</p><p>Chapter 10 Returning the Dress: Demonstrating Objectives, Obstacles, and Tactics </p><p>DAVIDA BLOOM</p><p>Chapter 11 Improvised Fantasies: Heightening Objectives and Obstacles in Scene Work </p><p>HILLARY HAFT BUCS</p><p>Chapter 12 Optimizing the Obstacle: Using Indicators of Csíkszentmihályi’s Flow to Help Select, Test,</p><p>and Experience Stanislavski’s Obstacles </p><p>FABIO POLANCO AND DIANE BONFIGLIO</p><p>PART III Identifying Tactics </p><p>Chapter 13 The Tag-tic that Works </p><p>LYNN DEBOECK</p><p>Chapter 14 Improvising Tactical Choices Based on Status</p><p>or “Who’s Driving the Dramatic Action Bus?” </p><p>JEAN DOBIE GIEBEL</p><p>Chapter 15 Transformational Tactics: Engaging Students</p><p>in the Heroic Pursuit of Their Objective </p><p>KIM SHIVELY</p><p>Chapter 16 Hunter/Hunted: Experiential Learning and the</p><p>Actor’s Craft </p><p>VALERIE CLAYMAN PYE</p><p>Chapter 17 Tactics and Action Drives: Stanislavski</p><p>Meets Laban </p><p>CONRAD ALEXANDROWICZ</p><p>Chapter 18 Stanislavski in the Voice Studio </p><p>DERIC MCNISH</p><p>Chapter 19 Stimulating Embodied Tactical Actions </p><p>LESLEY-ANN TIMLICK</p><p>Chapter 20 NRGs and the Nature of Action: The Lessac Tactic Circle </p><p>CAROLINE GOOD</p><p>Chapter 21 Relaying Action – from Breath to Text </p><p>AARON ALPERN AND REBECCA COVEY</p><p>Chapter 22 Using Improvisation to Identify Tactics </p><p>NATHAN STITH</p><p>Chapter 23 Activating the Actor with Game Theory: Using Gamification to Create Playable Tactics on Stage </p><p>JEANNE LEEP</p><p>AFTERWORD </p><p>Chapter 24 Recording Truth: The Camera in Acting Training </p><p>WELKER WHITE</p><p>CONTRIBUTOR BIOGRAPHIES </p><p>CHAPTER ABSTRACTS </p><p>INDEX </p>