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."

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.

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, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.

chapter |6 pages


Edited ByValerie Clayman Pye, Hillary Haft Bucs

part Part I|2 pages

Playing Objectives

chapter One|10 pages

Money in Your Pocket

Meisner, Objectives, and the First Six Lines
ByDennis Schebetta

chapter Two|14 pages

Psychological Gesture

Michael Chekhov Exercises on Physicalizing the Objective
ByAnjalee Deshpande Hutchinson

chapter Three|8 pages

Making Sport of Objectives

Teaching through Student-Developed Physical Competition
ByJohn Kaufmann

chapter Four|8 pages

Structured Improvised Scenes

ByTimothy Johnson

chapter Five|10 pages

Scoring the Un-Scorable

ByMaria Porter

chapter Six|10 pages

Creating a Physical Score in a Snap

Using Social Media to Appeal to the Smartphone Generation
ByTom Pacio

part Part II|2 pages

Overcoming Obstacles

chapter seven|12 pages

Engaging Obstacles

ByKevin Hoffmann

chapter Eight|8 pages

Active Obstacle Image Scoring

ByDavid Hugo

chapter Nine|10 pages


ByJanet Hayatshahi

chapter Ten|8 pages

Returning the Dress

Demonstrating Objectives, Obstacles, and Tactics
ByDavida Bloom

chapter Eleven|8 pages

Improvised Fantasies

Heightening Objectives and Obstacles in Scene Work
ByHillary Haft Bucs

chapter Twelve|14 pages

Optimizing the Obstacle

Using Indicators of Csíkszentmihályi’s Flow to Help Select, Test, and Experience Stanislavski’s Obstacles
ByFabio Polanco, Diane Bonfiglio

part Part III|2 pages

Identifying Tactics

chapter Thirteen|8 pages

The Tag-tic that Works

ByLynn Deboeck

chapter Fifteen|6 pages

Transformational Tactics

Engaging Students in the Heroic Pursuit of Their Objective
ByKim Shively

chapter Sixteen|8 pages


Experiential Learning and the Actor’s Craft
ByValerie Clayman Pye

chapter Seventeen|12 pages

Tactics and Action Drives

Stanislavski Meets Laban
ByConrad Alexandrowicz

chapter Eighteen|8 pages

Stanislavski in the Voice Studio

ByDeric McNish

chapter Nineteen|10 pages

Stimulating Embodied Tactical Actions

ByLesley-Ann Timlick

chapter Twenty|8 pages

NRGs and the Nature of Action

The Lessac Tactic Circle
ByCaroline Good

chapter twenty one|10 pages

Relaying Action – from Breath to Text

ByAaron Alpern, Rebecca Covey

chapter Twenty Two|8 pages

Using Improvisation to Identify Tactics

ByNathan Stith

chapter twenty three|10 pages

Activating the Actor with Game Theory

Using Gamification to Create Playable Tactics on Stage
ByJeanne Leep

part |2 pages


chapter Twenty Four|8 pages

Recording Truth

The Camera in Acting Training
ByWelker White