Through line

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The through line, sometimes also called the spine, was first suggested by Constantin Stanislavski as a simplified way for actors to think about characterisation. He believed actors should not only understand what their character was doing, or trying to do, (their objective) in any given unit, but should also strive to understand the through line which linked these objectives together and thus pushed the character forward through the narrative.

Theories and Techniques of Constantin Stanislavski v • d • e
Active Analysis • Action • Adaptation • Affective Memory • Bit
Cognitive Analysis • Communication • Concentration of Attention • Etude
Experiencing • Given Circumstances • Imagination • Indicating • Inner Contact
Inner Monologue • Intention • Justification • Lure • Method of Physical Actions
Motivation • Objective • Super Objective • The Questions • Relaxation • Representation
Sense Memory • Subtext • Substitution • Through-line of Action • Turning Point
An Actor Prepares • My Life in Art • Method Acting • Meisner Technique