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Finding Subtext A Theatrical Model for the First-Year Experience © 2005 Barbara Harris Clayton. All Rights Reserved Konstantin Stanislavski, 1863-1938 Moscow Art Theatre Director, actor, teacher “Method” acting My Life in Art, 1924 An Actor Prepares, 1936 Building a Character, 1949 Creating a Role, 1961 The Cast 18-year-old adults The Cast 18-year-old adults ? The Cast 18-year-old adults ? Academic Preparation and Skills Time Management Skills Balance of study, activities, work, and relaxation Respect for schedules and deadlines Money Management Skills Healthy Living Skills Diet, exercise, sleep, laundry, medications, alcohol, and drugs Social engagement and maintaining connections Guidance about when and where to seek help Stanislavski: Breaking Down Habits in the Theatre “He was directing an opera with young students, and he was trying to break down the cliché gestures and grimaces that had been taught them by singing, dancing, and diction teachers. It was a battle of egos, constant complaining by the actors that they could not sing if they were forced to take this or that position, insistent encouragement by Stanislavski—’Go on! You can do it! Make the tone! Sing!’”--Joshua Logan Breaking Down Habits in the Classroom Non-academic writing style Desire for correctness, certainty, not understanding Glib interpretation without thoughtful analysis Passive reception of teaching, not active engagement in learning Specific expectations for writing, practice exercises, opportunity to write drafts or ungraded diagnostic assignments; the Writing Center Multiple interpretations, readings, and stagings Importance of evidence for all interpretive choices Rewards for curiosity, initiative, and engagement; extra credit Stanislavski: Learning the “Given Circumstances” in the Theatre The factual structure of a role (the plot of the play, the time, place, historical context) and the director’s interpretation. Given circumstances are the structure within which the actor works imaginatively. Learning “Given Circumstances” in the Classroom Don’t know to look for structure in the assignments, activities, and concepts of a class Tell students to read the syllabus Explicitly relate assignments and activities to course goals and objectives Ask students to reach back as they move forward, incorporating what they have learned in their current work Stanislavski: Achieving Communion in the Theatre Actors must really hear, see, and sense what is happening on stage. They must listen to the words, read the body language, meet (or not meet) the eyes of other actors. Actors must adapt what they do to what they receive. Achieving Communion in the Classroom Don’t follow directions for class assignments Assert opinion rather than engage in discussion Reach conclusions based on emotions, not sound argument and evidence Insensitive to other people or points of view Plagiarize, not understanding the value of free and responsible exchange of ideas Written assignments and grading rubric attached to paper; revisions Discussion guidelines: make point only once; students address each other, not the instructor; paraphrase exercises Evidence exercises Value multiple points of view; awareness of others; “politeness tips;” collaborative teams Research and writing as a fundamental way of engaging with the academic community Stanislavski: Finding Subtext in the Theatre “Subtext” refers to the meaning that underlies the written text. “Please, do remember what I told you, and don’t open the script until I decide you should. You must first spend a great deal of time getting to know the subtext for the character as it develops, and making it secure. The actual words must only serve the action, they are one of the external means by which you give physical expression to the inner essence of a role.” Finding Subtext in (and out of) the Classroom Seemingly unconnected requirements, fragmented learning Contradictory expectations in different classes Lack awareness about individual learning style Apparent lack of connection between classroom and life learning Seek connections within a single class and among classes; FIG program Engaged advising; expect and value different methods for different disciplines and instructors Build a variety of learning experiences in a single course; repeat experiences; University resources Integrate and reflect on experiences in and out of the classroom; outreach activities, service learning, residential learning communities Stanislavski: The Actor’s Journey Stanislavski taught actors to seek the “through-action” of a role by breaking a play down into component parts and analyzing each part for the character’s needs or desires and what s/he does to fulfill that need or desire. This “through-action” provides coherence and logic to the imaginary character. Finding the “through-action” takes time, often the entire rehearsal process. The Student’s Journey Course selection, declaring a major, determining a career goal can be viewed as component parts of a student’s academic “through-action” Discovering curricular logic and coherence takes time and effort For the first-year student, no “throughaction” yet A Theatrical Model for the First-Year Experience Break down habits that inhibit academic success Understand “given circumstances,” the structures within which academic success occurs Achieve a spirit of community both in and out of the classroom Find a subtext, the meanings that underlie and connect the complicated “text” of the first year The End