GP2: Conflict - Homework

Your turn! Shurtleff explains that someone is always fighting for something in every scene. "There is no passive scene," he continues. So, your homework for this guidepost is is the answer the following questions:

1. In only one sentence, state what you are fighting for!
2. And how does this drive/goal/motivation/objective relate to the relationship between you and your scene partner?

Happy acting!


Up Next Summaries, applications, and homework on Guidepost 3: The Moment Before! Also, be on the look out for a biography page on Mr. Michael Shurtleff himself!

GP2: Conflict - Application

GP2: Conflict - Application

Overview In any play, it is important to know what you are fighting for in the scene. Generally, your scene partner will also be fighting for something against whatever you are fighting for. The following are examples from Antigone.

To view the script, click here!

Application

1. Scene 1
• Antigone is fighting to bury their brother (she wants Ismene's help).
• Ismene is fighting for Antigone's safety (if Antigone buries Polyneices, she will be sentenced to death).

Guidepost 2: Conflict - Major Points

Guidepost 2: Conflict - Major Points

Overview Shurtleff suggests that instead of using the Stanislavski objective or the generic goal/motivation, one must rather ask himself "What am I fighting for?" He uses fighting because it is an active term and there is no passive scene. To connect conflict to real life situations, Shurtleff says,

"All of life is a fight: we always want something. What seems like defeat is just another way of fighting. We always want something; we are always fighting."

 Heads up - it's a lengthy post!


Major Points of Guidepost 2: Conflict

1. Conflict
2. Dreams
3. Finding Conflict/Dreams within Your Character
4. Conflict and Relationship

Up Next Look out for the next few posts: GP2: Conflict - Application! I will be applying this guidepost to Antigone and her conflicts with all of the characters, and to two other scenes (an actual scene from a play and a "contentless scene"). Also, there will be a special post about which acting system serves as the best supplemental method for Shurtleff's work! Exciting stuff.