| Units and Objectives
The idea focuses on breaking the play down into units of action, and not just acts and scenes. The objectives within them dominate each unit and once reached the unit ends. There must not be too many units, but there should be enough to guide an actor towards realism. Each actor must realise their character's role in the objective, whether they want to achieve it, prolong it, prevent it, etc.
Super-Objective and Through-Line of Action
The super-objective of a play is the main thrust of the plot, an objective that runs throughout the entire text, it links to all the small units and objectives via the through-line. To gain understanding of a character, an actor must be aware of their character's relation to the super-objective.
Later Life
During the build up of major political change in Russia, Stanislavski mirrored social issues on stage during 1905's Bloody Sunday and the more influential Red October of 1917, which revolutionised the country into Communist rule. Konstantin survived the consequential violence only due to his close allegiance with Lenin and his theatre began producing plays containing Soviet propaganda. In 1918, he established the First Studio as a school for training young actors, still trying to gain acting rightful recognition as a serious profession. In 1938, a month before the open declaration of World War II, Stanislavski died believing in a peaceful, socially-responsible world that exchanged its works of art - his books have now been translated into over 20 languages.
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