Observational Case Study Student Learning in the Social...

Observational Case Study of Student Learning in the Social Sciences Overview The case study reported herein this work in writing relates a case study, which is an observational study of humanities teaching and student learning in the social sciences. This study observes classroom instruction to identify issues with the teaching of humanities, student engagement and learning, what teachers and students do in the classroom context, and finally makes recommendations and identifies possible solutions. It is noted in the work of Blair (2004) that eighth grade teachers in social studies struggle with piquing the students interest on a daily basis. Social studies seems to have a bad rap. Most students entering the classroom have already decided that this subject is a boring one. They are unable to recognize the importance of social studies in their everyday lives, and are willing to simply put in their time in the classroom. (p.1) Blair states that educators in the instruction of social studies must find alternative ways to teach their subject in the classroom. Thes e alternative ways, however, must appeal to all types of learners with all different learning abilities. How can one textbook fit all learners? More and more students are passing through middle schools and junior highs with little or no civic-minded responsibility. They simply do not understand how the critical decisions made in the past affect their daily lives. These are the same individuals who grow up andShow MoreRelatedImplicit Personality Theory and Stereotypes1650 Words   |  7 PagesAccording to Baron, Byrne Suls in their book Attitudes: Evaluating the social world. (1989) they defined the term Social Psychology as â€Å"the scientific field that seeks to understand the nature and causes of individual behavior in social situations†. (p. 6). 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Amity University Internship Guidelines - 6712 Words

AMITY SCHOOL OF ENGINEERING TECHNOLIGY CORPORATE RESOURCE CENTRE SUMMER INTERNSHIP for B. TECH. 2010-14 (ALL BRANCHES) Dual Degree 2010-15 BATCHES My Dear Amitian, Summer Internship is an important part of your four year B. Tech Programme or five years dual degree at ASET, Its important that student secures a place in the industry for summer internship well in time. The students can take bonafide letter for the company of their contact from Head of CRC, Prof. P.K. Rohatgi in ASET, E-3, Room No.320. The following Industry Internship guidelines are mandatory to follow. 1. Please ensure that you have gone through Summer Internship Kit contains the following. a) Summer Internship Guidelines b) Registration form c) Summer Internship†¦show more content†¦Offer your supporting hand to your industry guide for work other your Summer Internship. Be ethical in your deals. Build cordial relationship with all the industry professionals you come across during your Summer Internship. Build good rapport between your industry guide and faculty guide. 8. Summer Internship Facilitators at ASET , AUUP During the Summer Internship, you may contact the following members submit your Synopsis, WPR, CD ( Industry Guide Photograph Project Summer) to faculty guide and following Members: Programme 1. CSE 2. IT 3. Civil 4. MAE 5. ECE 6. EI, EEE Academic staff Mr. Sanjeev Kumar Ms. Amanjyoti Rana Ms. Viji Aji Mr. Leeladhar Balodi Mr. Mohan C Balodi Mr. Deepak Poswal Email Id skumar6@amity.edu ajrana@amity.edu vaji@amity.edu ldbalodi@amity.edu mcbalodi@amity.edu dposwal@amity.edu Telephone No. 4391506 4392996 4392537 4392781 4392517 4735616 All students should note that in No Case Summer Internship Duration will be extended beyond July 10, 2013. The odd semester for final year will commence on July 10, 2013. For any difficulty you may contact the following : a) CRC Dept (Mr. Pawan Kumar) pkumar14@amity.edu. 4392904 b) Programme Leaders (Admission Year 2010) Mr. Manmohan ECE mnsingh@amity.edu Ms. Sapna Sinha IT ssinha4@amity.edu Mr. Gaurav Gupta MAE ggupta1@amity.edu Mr. Rahul Sindhwani MAE rsindhwani@amity.edu Mr. S.K. Jain CE skjain@amity.edu Mr. Depeesh Kumar CSE dksrivastava@amity.edu Ms. Shilpi Sharma CSEShow MoreRelatedThe Activities Of Accounts Department Of Idea Cellular Limited3447 Words   |  14 PagesAMITY UNIVERSITY AMITY COLLEGE OF COMMERCE AND FINANCE INTERNSHIP REPORT ON â€Å"THE ACTIVITIES OF ACCOUNTS DEPARTMENT OF IDEA CELLULAR LIMITED† SUPERVISED BY MS. BHAVNA SHARMA FACULTY OF ACCF DEPARTMENT AMITY UNIVERSITY SUBMITTED BY SURBHI ARORA A3104613267 DEPARTMENT: FINANCE AMITY UNIVERSITY DATE OF SUBMISSION: 20-07-2015 TABLE OF CONTENT CONTENTS PAGE NO. 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Business Plan Analysis †Private Concepts Free Essays

Memorandum Re: Business Plan Assessment – Private Concepts Critically analyzing a business plan for its viability and opportunity for success is absolutely necessary from any stakeholder’s perspective. Doing so aides an investor in knowing whether or not to invest, a bank in deciding on a loan, or even a partner in his/her decision to join a venture. But perhaps most importantly, a critical analysis of a business plan can and will help the entrepreneur to assess whether or not an idea under its current platform is worth undertaking, or if it is back to the drawing board they go. We will write a custom essay sample on Business Plan Analysis – Private Concepts or any similar topic only for you Order Now The purpose of this memo is to assess the business plan of Private Concepts, a company hoping to bring to market The Pevlon, a cervical cancer screening device made for private, in-home use. The opportunity for such a device absolutely exists both here in the United States and abroad. For one, the plan mentions The Breast and Cervical Cancer Mortality Act of 1990 which, â€Å"mandated a nationwide program to increase access of medically underserved women to comprehensive breast and cervical cancer screening services,† and when coupled with the Patient Protection and Affordable Care Act that was recently passed, the amount of free (to consumer; paid for by the government) access to this product creates potential for a high demand in this country. In foreign countries however, such as rural China and even Africa, where access to healthcare and proper healthcare facilities can be extremely rare, the appetite for this type of product could be tremendously significant. And there lies the first issue with this business plan. According to the Lancet Oncology medical journal, Volume 11, Issue 12, â€Å"75,000 women develop cervical cancer and 40,000 women die from the disease in China each year. † Those numbers in the United States are only about 12,000 and close to 4,000 respectively (cdc. ov). This exemplifies a larger need for this product abroad as opposed to right here in the states. And to focus on the opportunity in China, a Wall Street Journal publication explains how China’s healthcare system is lacking in general, but puts a microscope on the disparity in quality healthcare between rural and urban areas (Burkitt, 2012). These rural areas in China represent a large opportunity (much larger than any market in t he United States) for The Pevlon. And so although the opportunity does exist for the business plan’s product, it is evident that the opportunity accentuated in the business plan is not the optimal one (aside from appealing to non-profits or other entities that would utilize the Pevlon in charitable, undoubtedly foreign ventures – this should have been a more significant portion of the plan). Additionally, the opportunity in the United States has not necessarily been proven to the point where one could consider the need for the product as pervasive enough to where the consumer is willing to pay for it. And pay for they would have to, because as the plan notes in the chart on page 10, a Pevlon screen costs 50% more than a typical pap smear. This exemplifies that pricing is going to be an issue. The health care market is highly dependent on the insurance industry, especially when there are product substitutes. Take pharmaceuticals for example. In group health care, policies are dictated by the contract that is in place and the majority of these contracts will sway the policy holder to utilize generic medications. This is done by the insurance carrier covering a larger percentage of generic medications than name brand ones, which ultimately costs the carrier less. So if a pap smear is less costly by 50% than a Pevlon test, carriers may still cover the device, but the â€Å"incentive† to utilize the cheaper procedure will absolutely be in place. Additionally, the business plan identifies lower income women as a target market, but fails to explain how a more expensive procedure will be a viable option for this segment group. But even when the entire U. S. arket (via a sample size) is observed on page 19 of the plan, less than half of the women surveyed (46%) stated they would utilize the in-home Pevlon test even if most or all of it was covered by insurance. And if insurance reimbursement is removed completely, only 11. 2% of women would purchase the product. It would be interesting to see if there were follow up inquiries related to this line of questioning because a hypothesis is that s ome women, or maybe even a lot of women, may not trust themselves to complete such an important test at home. These women may simply prefer to rely on the expertise of a medical professional. And along these same lines, I feel as though the plan is silent on a very important aspect when it comes to assessing the true market of this product: how many women are in fact uncomfortable with going to a physician’s office to have a pap smear completed and would those women be more comfortable completing such a screen at home? Yes, there is a quote stating how uncomfortable the procedure is (which is in fact the first thing the reader sees underneath the Executive Summary heading), but it is somewhat suspect that this quote is anonymous and that there is no quantifiable evidence proving this notion to be true. So what is the actual desirability of this product? There really is no proof of it within the business plan and if I was investing in this product, I would need this â€Å"proof. † Aside from the ambiguous desirability of the product, there are a number of other concerns that should really stick out to the potential investor. On page 12 of the business plan there is a section that lays out the testing and approval stage for the Pevlon device. There are 6 steps in this section and only 1 of which have been completed, which happens to be the least significant of steps. The remaining rigmarole of securing FDA approval, obtaining the green light to conduct clinical studies, actually conducting these studies, etc. could easily take upwards of a decade to complete. From the perspective of an investor or a bank assessing a loan, this is entirely too long a process for someone to simply START making their money back. This exemplifies how difficult a market healthcare can be to get into, and that the barriers involved are simply too high. Additionally, the Pevlon is not necessarily a onetime revenue generator, but it comes uncomfortably close. In 2009, the American College of Obstetricians and Gynecologists (ACOG) released new cancer screening guidelines. According to ACOG, women now need to begin screening at age 21 as opposed to 18, and women ages 21 to 30 only need to be screened once every two years; women 30 and older only once every 3 years (Cox, 2009). The final qualms that I have concerning this business plan is the window of opportunity associated with the product, and the amount of time it will take for Private Concepts to become a profitable company. There does not appear to be an actual window of opportunity as the business plan does not thoroughly prove the market segment. Anecdotally I polled a number of women in my life with whom I am comfortable bringing this subject up and all of them (4) took the opinion that their screenings are not a major source of stress or discomfort, but rather they have come to accept it as â€Å"part of the routine of life. And in regards to becoming a profit generating entity, right up front on page 3 of the business plan, it is shown in the chart that Private Concepts would not be in the black until 5 years of doing business. What’s most concerning is that 5 years is still merely a hypothesis and that the organization is seeking over three million dollars in funding basically right out of the gate. Conceptually, the idea of a self administered, in home cervical cancer screening is a good idea. It poses benefits such as convenience and avoiding uncomfortable screenings at a physician’s office. Private Concepts missed the mark in their business plan however, in a number of ways. The market was identified too ambiguously and the plan did not clearly exemplify certain key aspects of said market such as how many women actually would prefer an in home screen versus one performed in a physician’s office. Where to market and focus sales efforts was clearly stated, however, the idea to sell first in the United States is not the best possible plan of action. Private Concepts should as the plan mentions, manufacture the product off shore in order to maximize profit margins, but at the same time the pricing point should be rethought considerably in order to capitalize on the more fruitful markets of places like rural China and Africa. Appealing to non-profits and government entities that might focus on these foreign demographics was a small piece of the business plan, but it should have been more of a focus. Finally, in this assessment I had the advantage of hind sight and context. This business plan won the Moot Corp competition in 2002 with what appeared to be a viable business plan at the time. This product has yet to come to market and I was unable to find anything stating that the Pevlon has been approved by the FDA. This does not necessarily hold any bearing on this analysis of the business plan; however, it does prove to a certain extent, a lot of the shortcomings that were found within this business plan. Academically and structurally the plan was very well done, however in practical application it is easy to see how and why the Pevlon is still an unknown product to virtually the entirety of the woman population in the United States. Arbyn, Marc. HPV-Based Cervical Cancer Screening in China. The Lancet Oncology. 2010;11(12):1112 – 1113. Burkitt, Laurie. Report: China’s Healthcare System Deeply Sick. The Wall Street Journal. http://blogs. wsj. com/chinarealtime/2012/08/29/report-chinas-health-care-system-deeply-sick. 9 August 2012. Date Accessed: 23 January 2013. Cervical Cancer Statistics. Centers for Disease Control and Prevention: Gynecologic Cancers. http://www. cdc. gov/cancer/cervical/statistics. 20 December 2012. Date Accessed: 23 January 2013. Cox, Lauren Dr. Joshua Hundert. New Cervical Cancer Screening Guidelines: No More ‘Annual’ Pap Smears. ABC, Good Morning America. http://abcnews. go. com/GMA/OnCall/guidelines-ditch-annual-pap-smears/story? id= 9131632. 20 November 2009. Date Accessed: 23 January 2013. How to cite Business Plan Analysis – Private Concepts, Essay examples

Konstantin Sergeivich Alexeiev Essay Example For Students

Konstantin Sergeivich Alexeiev Essay Konstantin Sergeivich Alexeiev was born into a very rich Russian family in the year 1863. With a theatre built in a wing of his home, he was brought up with acting in his life and his family were very fond of the art. However, they were not the kind of people who would take kindly to their children stepping into the profession of acting, and so when Konstantin Sergeivich Alexeiev began acting and enrolling in 1884 he began to use the stage name of Stanislavski. His father then gave him permission, to carry on following his love of acting and the theatre after he directed a performance of the Mikado at their home in 1887. Stanislavski built a name for himself through his acting techniques and performances. From the start of his acting career, he carefully made notes about his performances. He studied his own, and other peoples work and created a standard of acting that had many critics at their knees, lost for comment. Not only did he become chairman of the Russian Music Society in 1886 but he also worked with the likes of the great play writer Anton Chekhov on his most important works. Stanislavski changed how many viewed acting. Many people simply assumed that acting was simply a matter of being natural; but Stanislavski discovered that acting realistically onstage is extremely artificial and difficult. He wrote: A?A?All of our acts, even the most simple of all, which are so familiar to us in everyday life, become strained when we appear behind the footlights before a public of a thousand people. That is why it is necessary to correct ourselves and learn again how to walk, sit or lie down. It is essential to re-educate ourselves to look and see, on the stage, to listen and to hear. A?AÂ ¦ To achieve this form of re-education, Stanislavski believed that the actor / actress must believe in everything that takes place onstage, and most of all, must believe what the actor / actress themselves is doing. A?A?And one can only believe in the truth. A?AÂ ¦ So that his ideas had substance, Stanislavski studied how people act in everyday life and how they communicated feelings and emotions. He then found ways to accomplish the same things onstage. From his experiences and observations, he compiled a series of principles and techniques, which today are regarded as fundamental to both the training and the performance of actors and actresses who want to create a believable character on stage. His exercises and techniques, followed the following broad aims: aâ‚ ¬zh To make the outward behaviour of the performer A?V gestures, voice, and rhythm of movements natural and convincing. aâ‚ ¬zh To have the actor / actress convey the goals and objectives A?V the inner needs of a character. Even if all the visible manifestations of a character are mastered, a performance will appear superficial and mechanical without a deep sense of conviction and belief. To make the life of the character onstage not only dynamic but also continuous. Some performers tend to emphasise only the high points of a part; in between, the life of the character stops. In real life however, people do not stop living. aâ‚ ¬zh To develop a strong sense of ensemble playing with other performers in a scene. There were also other points that Stanislavski paid attention to whilst directing, or taking part in a performance. Relaxation Stanislavski noted that all great actors and actresses had fluid and lifelike movements. It showed them to be in a complete state of freedom and relaxation, letting the behaviour of the character come through effortlessly. He concluded that all unwanted tension has to be eliminated and that the performer should remain in total physical and vocal relaxation. Concentration and Observation Gifted performers also showed to be fully concentrated on one particular object, person or event whilst on stage. .u27ed5c5c056c5c24befc3bbaa55b1e5d , .u27ed5c5c056c5c24befc3bbaa55b1e5d .postImageUrl , .u27ed5c5c056c5c24befc3bbaa55b1e5d .centered-text-area { min-height: 80px; position: relative; } .u27ed5c5c056c5c24befc3bbaa55b1e5d , .u27ed5c5c056c5c24befc3bbaa55b1e5d:hover , .u27ed5c5c056c5c24befc3bbaa55b1e5d:visited , .u27ed5c5c056c5c24befc3bbaa55b1e5d:active { border:0!important; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .clearfix:after { content: ""; display: table; clear: both; } .u27ed5c5c056c5c24befc3bbaa55b1e5d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u27ed5c5c056c5c24befc3bbaa55b1e5d:active , .u27ed5c5c056c5c24befc3bbaa55b1e5d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .centered-text-area { width: 100%; position: relative ; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u27ed5c5c056c5c24befc3bbaa55b1e5d:hover .ctaButton { background-color: #34495E!important; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u27ed5c5c056c5c24befc3bbaa55b1e5d .u27ed5c5c056c5c24befc3bbaa55b1e5d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u27ed5c5c056c5c24befc3bbaa55b1e5d:after { content: ""; display: block; clear: both; } READ: Shakespeare s use of context in Hamlet EssayStanislavski referred to the extent or range of concentration as a circle of attention. This circle of attention can be compared to the circle of light or dark on a stage. Aperformer starts concentrating on being within a small tight circle, containing only themselves and perhaps something or someone else. Once this is established, they can widen their circle of attention to include the whole stage area. This way the actor / actress worries less about the audience and concentrates more on their character. Importance of Specifics Stanislavski concentrated on emphasising concrete details. He believed that a performer should never try to act in general, and should never try and conveya feeling such as fear or love in a vague, amorphous way. A?A? In life, we express emotions in terms of specificsA?AÂ ¦ Examples: A nervous woman fiddles with here necklace An angry boy throws a rock at a trash can The preformer must also conceive of the situation in which a character exists in term of specifics. In concrete terms, these questions should be answered: In what kind of place does the event take placeA?K formal? Informal? Public? Domestic? How does it feel? What is the temperature? Lighting? What has gone on just before? What is expected in the moments ahead? Inner Truth This deals with the internal or subjective world of the characters. Their thoughts and emotions. There were several ways that Stanislavski thought he could achieve this sense of inner truth, one of them being the magic A?A?ifA?AÂ ¦. A?A?IfA?AÂ ¦ is a word that can transform our thoughts, through it we ca imagine ourselves in virtually every situation. A?A?if I became wealthyA?KA?AÂ ¦ A?A?if I had asked themA?KA?AÂ ¦ . f they come here againA?KA?AÂ ¦ The word A?A?ifA?AÂ ¦ can lift us out of ourselves and take us into other positions giving us a sense of absolute certainty about imaginary circumstances. Action Onstage An important principle on how Stanislavski worked was that all actions on stage must have a purpose. This means the performers attention must always be concentrated on a series of physical actions, linked t ogether by the circumstances of the play. He determined these actions by asking three essential questions about the particualr actions: What? Why? How? Through Line of a Role According to Stanislavski, I order to develop continuity in a part, the actor or actress should find the super objective of a character. What is it, above all else, that the character wants during the course of the play? From this objective can be developed a through line which can be grasped. To help develop the through line, Stanislavski urged performers to divide scenes into units, or beats. In each unit there is an objective, and the intermediate objectives running through a play lead ultimately to the overall objective. Ensemble Playing Unless involved in a monologue, performers do not act alone. They interact. Stanislavski noted, that when characters did not hold the main spotlight, they often came out of character. Such characters made a great effort whilst speaking but little when listening. This tendency destroys the through line causing the performer to move in and out of role. This in turn weakens the sense of the ensemble A?V the playing together of all performers. The Use of Psychophysical Action Stanislavski began to develop his techniques in the early part of the twentieth century, and at first he emphasized the inner aspects of training: for example, various ways of getting in touch with the performerquot;s unconscious. Beginning around 1917, however, he began to look more and more at purposeful action, or what he called pyshophysical action. An action which has a purpose, and leads to feelings about the action taken. A?A?Whereas action previously had been taught as the expression of a previously- established quot;emotional state,quot; it is now action itself which predominates and is the key to the psychological. A?AÂ ¦ Rather than seeing emotions as leading to action, Stanislavski came to believe that it was the other way around: purposeful action undertaken to fulfill a characterquot;s goals was the most direct route to the emotions. .u014bf019b212f175fdc24f93d98f4bc0 , .u014bf019b212f175fdc24f93d98f4bc0 .postImageUrl , .u014bf019b212f175fdc24f93d98f4bc0 .centered-text-area { min-height: 80px; position: relative; } .u014bf019b212f175fdc24f93d98f4bc0 , .u014bf019b212f175fdc24f93d98f4bc0:hover , .u014bf019b212f175fdc24f93d98f4bc0:visited , .u014bf019b212f175fdc24f93d98f4bc0:active { border:0!important; } .u014bf019b212f175fdc24f93d98f4bc0 .clearfix:after { content: ""; display: table; clear: both; } .u014bf019b212f175fdc24f93d98f4bc0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u014bf019b212f175fdc24f93d98f4bc0:active , .u014bf019b212f175fdc24f93d98f4bc0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u014bf019b212f175fdc24f93d98f4bc0 .centered-text-area { width: 100%; position: relative ; } .u014bf019b212f175fdc24f93d98f4bc0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u014bf019b212f175fdc24f93d98f4bc0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u014bf019b212f175fdc24f93d98f4bc0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u014bf019b212f175fdc24f93d98f4bc0:hover .ctaButton { background-color: #34495E!important; } .u014bf019b212f175fdc24f93d98f4bc0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u014bf019b212f175fdc24f93d98f4bc0 .u014bf019b212f175fdc24f93d98f4bc0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u014bf019b212f175fdc24f93d98f4bc0:after { content: ""; display: block; clear: both; } READ: A play set in the 1880's EssayExample: A character is sitting at a dinner table. All of a sudden the character quickly stands up and throws the plate at the wall, thus causing more anger in the character. Rather than just trying to be mad, the character made an angry motion, throwing a plate, that made the anger greater. As stated, StanislavskiA?AÂ ¦s techniques are derived from truth. The performer creates and brings the character to life through the truth surrounding them. To me, this is the perfect way to portray a character in a true and lifelike manner. However, Stanislavski does not look into other ways to portray a character. In a way, what you see is what you get. Actions choosing the pathways of a life of a character. I like more abstract acting, where you are showing a character through different means. Not just acting the character and their surroundings out but creating and displaying perhaps their inner most thoughts and feelings. This is more colourful than the black and white acting exercises of Stanislavski. When showing just the character, although being portrayed correctly and showing all truth, to me this can be like looking across a flat field. There are no variations. When more abstract acting is added, the audience can become more involved in the piece in other ways and see things in different lights. StanislavskiA?AÂ ¦s methods are perfect to create characters, but I myself wouldnA?AÂ ¦t base all of my performance on his teachings. I would certainly use his workings but not rely on them too heavily and make sure to involve my own variants.