PUBLIC SECTOR- EDUCATION Essay Example | Topics and Well Written Essays - 2500 words

PUBLIC SECTOR- EDUCATION - Essay Example The concept of the Welfare State, as Barr (2004) postulates, lacks precision and as such no single faceted definition can be best termed as best describing it. The reason behind the above statement is as a result of the fact that welfare stems its meaning from an array of sources that go beyond activities that fall within the province of the state. Moreover, there are a whole range of modes for delivering services to citizens that are deemed welfare services. Some of the services that are entailed in the welfare kitty are funded by the state but the same state does not produce this services. Some of the services are produced publicly but their delivery is free. Some of the services are brought by the private sector with some acquired by persons whereupon they get financing from the state. Despite the fact that the limits of welfare are not clearly stated the concept of the welfare state is used as a diminutive hand for the activities of the state in 4 wide areas. Barr (2004) postulat es that primarily, these services are education and healthcare as well as housing, food and other services that are enjoyed on welfare. Our study will be based on education. The major aims of the Welfare State are best described under 4 general groups. Welfare ideally, is formulated with the objective of supporting living standards, and diminishing the inherent inequalities and by doing so it strives to desist from cost explosion as well as deters actions that are conducive to adverse selection as well as moral hazard. All the above stated aims of the Welfare State are achieved through maintaining administrative costs on the low as well as structuring the welfare system with models that do not condone abuse of power by those that are charged with running the welfare system. The road that led to assenting to the above objectives in the U.K commenced with the liberal reforms in 1906 to nineteen fourteen as Marcuzzo (1996) observes. The kingdom was not fully

Communication case study Essay Example | Topics and Well Written Essays - 1000 words

Communication case study - Essay Example g the opinions and facts he got from different sources such as reading newspapers, magazines, and books in the library, he even interviewed some people who are really associated with the problem he was dealing with. But the part of saying â€Å" I don’t care who said that† came the problem arising. He was not able to present the information regarding that portion. He should reach them in a manner that is persuasive so that the audience can feel the essence of the message and information he is trying to impart. ]Scott should face the audience confidently and showing dependency and amazingly believing what he got from his sources, but in mentioning what the mayor said regarding the Mexican problem, that’s where the revolts of the people arise. He should not tell that to the people. Because such actions of telling bad things about other people is not good, most probably if you are to gossip that to the public. He must keep the name of the person clean. And he should stay innocent and acted just the mediator and the facilitator of the message. The message itself that will stimulate one’s ears to run their ideas and think logically about the situation. As a speaker, you should consider the feelings of the audience. Always consider them as reactors once you throw words from you. They will probably react on everything you will say. Evidences and statements you gathered will be your defense and source for answering their questions. In communication there is always a producer and a receiver and of course a channel. In here, Scott could be the producer or the channel, because the information came from him and so he uses his self to send the message to the audiences. The audience in Scott’s case reacted violently with what they heard was said by the mayor of the other city. That speaker’s should not say in front of the crowd offensive things. Due to this people around him gave their feedbacks. Scott and his colleagues have a direct connection, but he can easily

Modern dance Essay Example for Free

Modern dance Essay 1. What are the innovations of Isadora Duncan, Denishawn, Martha Graham, and Cunningham. Discuss these in relation to style, technique and theory. Many Historians say that Isadora Duncan was the first dancer to present modern dancing to the public. Duncan felt that the pointe shoes and costumes that ballerinas wore were to restrictive. She began to dance in a way that seemed to be more natural to her. Her inspirations came from the movements of the tress, the ocean and other forms from nature. Her techniques included hopping, swaying, skipping and running. She felt these type of movements were natural and expressive. Also, the history of the Greeks inspired her to dance barefoot and wear tunics similar to those of Greek style. Isadora Duncan paved the way for all modern dancers and choreographers who were to follow her. Learning About Dance pg. 61-62 Denishawn was a dance school created in 1915 by Ruth St. Denis and Ted Shawn. Denis and Shawn were greatly inspired by different cultures, especially the Asian cultures. Although the dances Denishawn performed werent authentic, they were still able to bring other countries dance views to American audiences. The purpose of Denishawn was to educate the total dancer. Meaning to bring together the body , mind and spirit. Learning About Dance pg. 62-63 Martha Graham developed a technique known as contracting and releasing through the center of the body. This technique can be seen throughout many of her dances. Graham would create dances that dealt with psychological issues. She would use themes relating to American life, Greek Mythology, American Pioneers and American Indians. Learning About Dance pg. 6371 Merce Cunningham was the first choreographer to not use traditional choreographic methods. He developed a new style of choreography. He did not believe dance had to have a certain storyline or theme. His theory of dance revolved around the idea of movement for movements sake. He felt that any part of the body can be used and the music, costumes design, lighting and the movements all have their own identity. He thought a dance can be about anything , just as long the main idea is about the human body moving.. In his dances he uses chance and indeterminacy methods. He uses these methods because he feels it helps him to break old habits and create exciting and new movements in dances. By using these methods what a dance is one night might be something else by the next night. Learnig About Dance pg. 65-66 2. In depth discuss one of these artistic personas (one of four). Include the art themes, and society of the time, as well as the particular contribution to dance history. Modern dance began in the late 1800s and early 1900s. It came directly as a revolt,what was understood as the restrictions of ballet. Isadora Duncan, (1877-1927), is given the credit of being the first dancer to present modern dancing. Other dancers, such as Loie Fuller and Maud Allan did perform dances that were new and different also. But, Duncans reasons for creating and moving were different to those of Allans and Fullers. Duncan began to feel that the costumes and pointe shoes were to restricting, after years of ballet training. She left technical training and began to dance in her way. She felt her new way of dancing was more natural. These natural movements came to her from different forces of nature. Like the swaying of trees and the ocean. Her technique included movements such as skipping, running, hopping and swaying. These movements were not only natural, but also expressed her. Her inspiration dancing barefoot and wearing tunics came from the history of the Greeks. The tunics did not confine her movements and they also showed the beauty of the female body. Duncan was also known as a rebel to many Americans. She found fame in parts of Europe and Russia, from 1907-1927. You could call Isadora Duncan the mother of modern dance. Isadora went out to free the body from the restrictions of ballet and created a truly modern form of dance. She began to show dance as the art of liberation. Learning About Dance pg. 61-62 pg. 70

Different Kinds Of Trial Under CRPC Law Essay

Different Kinds Of Trial Under CRPC Law Essay Most offences in Indian criminal law were created by Statute and have a statutory maximum penalty. For the purposes of trial, offences were divided into different categories, offences triable by indictment (warrant cases) or offences triable only summarily, or offences triable either way. The most serious offences (eg: murder, rape) are triable only on indictment, at the Sessions Court. A large mass of less serious offences are triable only summarily, in magistrates courts. The middle category of offences triable either way and comprises of most burglaries, thefts and frauds. The trial is the pivotal point of a Criminal case. Sec 190 of the CrPC talks of the conditions that need to be fulfilled before proceedings can be initiated by the Magistrate (it specifically empowers a Magistrate to take cognizance of a case). It is the exclusive power of the Magistrate under Sec 204 of the CrPC to refer or reject a case from entering the stage of trial. Trial is the judicial adjudication of a persons guilt or innocence. Under the CrPC, criminal trials have been categorized into four divisions having different procedures, called Session, warrant, summons and summary trials. Sec 225-237 deal with warrant cases by a court of Session. Sec 238-250 deal with warrant cases by magistrates. Sections 251-259 provides procedure for trial of summons cases by magistrates. Sections 260-265 make provisions relating to summary trials. Warrant Case: A warrant case relates to offences punishable with death, imprisonment for life or imprisonment for a term exceeding two years. The CrPC provides for two types of procedure for the trial of warrant cases triable by a magistrate, viz., those instituted upon a police report and those instituted upon complaint or on own information of magistrate. In respect of cases instituted on police report, it provides for the magistrate to discharge the accused upon consideration of the police report and documents sent with it. In respect of the cases instituted otherwise than on police report, the magistrate hears the prosecution and takes the evidence. If there is no case, the accused is discharged. If the accused is not discharged, the magistrate holds regular trial after framing the charge, etc. Sessions case: In respect of offences punishable with death, life imprisonment or imprisonment for a term exceeding seven years, the trial is conducted in a Sessions court after being committed or forwarded to the court by a magistrate. Summons case: A summons case consists of all cases relating to offences punishable with imprisonment not exceeding two years. In respect of summons cases, there is no need to frame a charge. The court gives substance of the accusation, which is called notice, to the accused when the person appears in pursuance to the summons. The court has the power to convert a summons case into a warrant case, if the magistrate thinks that it is in the interest of justice. Summary case: The high court may empower magistrates of first class to try certain offences in a summary way. Second class magistrates can summarily try an offence only if punishable only with a fine or imprisonment for a term not exceeding six months. In a summary trial, no sentence of imprisonment for a term exceeding three months can be passed in any conviction. The particulars of the summary trial are entered in the record of the court. In every case tried summarily in which the accused does not plead guilty, the magistrate records the substance of the evidence and a judgment containing a brief statement of the reasons for the finding.  [1]   Procedure of Magistrate on appearance of accused in warrant case: In warrant case if the Magistrate finds that the charge against the accused is groundless, he has power to discharge the accused by recording reasons. If the Magistrate has reason to believe that there is ground to proceed further, he then frame charges against accused which is read and explained and thereafter asks accused whether he pleads guilty of offence or not. If the accused pleads guilty, the Magistrate may convict the accused and proceed further to question the accused about quantum of sentence. Thereafter awards sentence. If the accused pleads to be tried, the magistrate proceeds to examine the witnesses of prosecution, hearing of prosecution and examination of accused under Section 313(1)(b) CrPC follows. The accused shall also be called upon to enter defence and produce his witnesses if any. Procedure of Court of Session: In case of offence exclusively triable by a court of Session, the Magistrate may take cognizance if such an offence and commit the case to the court of Session for trial. A court of Session cannot directly take cognizance of offence triable by it. On appearance by the accused before Sessions Court, the Judge hears the public prosecutor regarding the case. If the Judge considers that there is no sufficient ground to proceed with, he can discharge the accused, otherwise he proceeds to frame charge and examines the accused about the charge. If the accused pleads guilty the judge convicts the accused and the question quantum of sentence and award sentence by way of judgment. If the accused wishes to be tried the Judge shall fix dates for examination of prosecution witnesses and shall hear prosecution arguments and then call upon accused personally to explain any circumstances against him in evidence. If no case is made-out, the Judge shall record order of acquittal. If the Judge does not think it fit to acquit the accused, he shall thereupon ask the accused to enter on his defence. Accused can also file written statement explaining the circumstances of his involvement in the case. On hearing prosecution and accused, the Judge shall give a judgment. In case the accused is convicted, he shall be heard about quantum of sentence. Thereupon award of sentence follows. Examination of Court Witnesses:-The court has power to examine any person, at any stage, as court witness in the ends of Justice. Summons procedure:-In summons case, the accused is issued summons to appear or brought before the Magistrate. Then particulars of offence are stated and if the accused pleads guilty, he is convicted or otherwise trial follows. It shall not be necessary to frame charges in summons case. Summary and trial procedure:-Summary trial is a short-cut procedure of regular trial. Since risk is involved in short cut procedure, senior and experienced judicial officers are empowered to try certain petty cases. Though some offences under this summary trial procedure involved are warrant cases, but the involvement of punishment in summary trial being only three months imprisonment, summons case procedure is followed at the trial. In this summary trial, the Magistrate shall record substance if evidence and a judgment of brief statement of reasons for the finding follows if the accused does not plead guilty.  [2]   Guidelines: The purpose of these guidelines is to help magistrates decide whether or not to commit either way offences for trial in the Sessions Court. Their object us to provide guidance not direction. They are not meant to impinge upon a magistrates duty to consider each case individually and on its own particular facts. These guidelines apply to all defendants aged 18 and above. General Mode of Trial Considerations: When deciding whether a case is better triable as a Sessions case or a warrant case, a magistrate must keep in mind the following considerations: a) the nature of the case, b) whether the circumstances make the offence one of a serious character, c) whether the punishment which a magistrates court would have the power to inflict for it would be adequate, d) any other circumstances which appear to the court to make it suitable for the offence to be tried in one way rather than the other, e) any representations made by the prosecution or the defence. Some more observations: a) the court should never make its decision only on the grounds of convenience or expedition, b) the court should assume for the purposes of deciding the mode of trial that the prosecution version of the facts is correct, c) where cases involve complex questions of fact or difficult questions of law, including difficult issues of disclosure of sensitive material he court should consider committal for trial, e) in general, except where otherwise stated, either-way offences should be tried summarily. Problems and Suggested Reforms in Trial Procedure In cases of conviction, the sentence that may be passed is limited by (a) the procedure adopted for purposes of trial: and (b) the limits placed by S.29 Cr.P.C. on different classes of Magistrates. If the case is tried by the Chief Judicial Magistrate (or the Chief Metropolitan Magistrate), the upper limit of sentencing would be any sentence authorized by law, except a sentence of imprisonment for life or of imprisonment for a term exceeding seven years. A Magistrate of the First Class (or a Metropolitan Magistrate) may pass a sentence of imprisonment for a term not exceeding three years, or of fine not exceeding Rs.5000 or of both.  [3]   The procedure for recording evidence varies according to the form of trial. Section 274 Cr.P.C., prescribes that in summons cases and inquiries, the Magistrate shall, as the examination of each witness proceeds, make a memorandum of the substance of the evidence in the language of the Court. The proviso enables the Magistrate to cause such memorandum to be made in writing or from his dictation in open Court where the Magistrate is unable to make such memorandum himself and records reasons for his inability. S.376 (d)., provides that no appeal from a convicted person shall lie when a sentence of fine only is passed not exceeding Rs.200/- in a case tried summarily by the Magistrate empowered under section 260. S.260 and 355 are either unutilized or under-utilized. Only those Magistrates (Other than CJMs and MMs) who are duly empowered, either by name, or by virtue of office, or under the statute creating the offence can try the cases summarily. But most of the Magistrates are not empowered. This is one among the many reasons why summary procedures is not fully utilized. As the Judge of the same status can deal with the case summarily when he is posted as a metropolitan Judge without any empowerment there is no reason why such empowerment is needed for other magistrates to deal with the cases summarily under Section 262 of the Code The Law Commission has in its 154th report also recommended enhancement of the limit of Sentence prescribed in Section 262 of the Code to three years. It has also recommended some incidental amendments to Sections 2(x) and 2(w). The researcher feels that Section 2(x) defining warrant case be amended by substituting the word three for the word two. Consequently all cases which are not warrant cases, relating to offences punishable with imprisonment lower than three years shall become Summons cases which shall be tried by following the summary procedure prescribed in Chapter XXI of the Code. Large number of cases which do not involve serious offences can be disposed of expeditiously. As the Magistrate has power under S. 260(2) to try the case regularly if he feels that it is desirable to do so in the interest of justice no prejudice would be caused. However, the researcher is of the opinion that proper training should be given to all the Magistrates about trying the cases following the summary procedure. The training should include mock trails and writing of judgments in summary trials by the trainees.

Liberalism in Early American Literature :: essays research papers

Liberalism is the foundation of America. This ideology is found in the country’s early fledgling literature and in the very document that made America free. Both the selected works of Phyllis Wheatley and Thomas Jefferson are actively working for the ideology of liberalism, which is a political ideology that is against any system that threatens the freedom of the individual and his natural rights and prevents the individual from becoming all the individual can be, specifically the importance of human individuality and the freedom of humanity from subservience to another group. The natural rights of man, in the words of John Locke, are â€Å"life, liberty and property.† These passages compliment each other because they are both in the support of the ideology of liberalism and support the freedom of all members of the human race. The big picture that is at stake is that the ideology of liberalism was the principle founding ideology in America and it was presence was felt in the social context via literature. The importance of human individuality and the freedom of humanity from subservience to another group was a crucial point in the ideology of liberalism. Therefore, when liberalism is found in literature, it carries the same determining factors. In a section of the Declaration of Independence by Thomas Jefferson, Jefferson writes â€Å"He has incited treasonable insurrections in our fellow-subjects, with the allurements of forfeiture and confiscation of our property.† This language supports liberalism because Jefferson makes it clear that the â€Å"treasonable insurrections† were not caused by the people themselves but by King George III, i.e. an overbearing government and therefore it places the â€Å"fellow-subjects† in a subservient position. Another support of liberalism by this quote is the mentioning of the â€Å"confiscation of our property† which is, by way of John Locke, an infringement of natural rights and therefore an infringement of human indivi duality. Since Jefferson is condemning these infringements, he is then supporting the opposing view, which is liberalism. Jefferson also writes â€Å"He has waged cruel war against human nature itself, violating it’s most sacred rights of life and liberty in the persons of a distant people†¦Ã¢â‚¬  This statement is actively working for the ideology of liberalism by stating the life’s most sacred rights are life and liberty, which goes back to the statement by John Locke. By using the term sacred, Jefferson has created a sense of religiousness in his argument.

The Theme of Self Esteem in Othello Essay -- Essays Papers

The Theme of Self Esteem in Othello For the theater-going people of the Elizabethan age, there were many hardships. Many of them experienced poor living conditions and treatment. All of them faced the dangers of a comparatively underdeveloped medical knowledge which often left the young and elderly to die of common diseases. The magic of Shakespeare is not only that historians can learn of otherwise undocumented details of the 1500's, but also that all readers can discover the many similarities between Shakespeare's day and now. These similarities reside heavily not only in speech, but also the human condition. When compared with the people we know today, Shakespeare's characters exhibit only skin-deep differences. Some identical language expressions may owe their modern existance to Shakespeare's presence in literary education, but identical emotional reactions surely cannot stem solely from the lecture hall. The English inhabitants of the 16th century, as seen through William Shakespeare's eyes, experienced the same love, hate, and jealousy that we do today. Just as our modern films and music often include implied moral lessons, so too does Shakespeare's The Tragedy of Othello the Moor of Venice. All its primary characters and themes of unstable love and exploitation culminate into one simple message about the key importance of loving oneself. Iago, the villian of the tale, is responsible for initiating most of the turbulence found in the plot. Essentially, Iago chooses two insecure individuals on which to work his exploitation: Roderigo and Othello. Othello, arguably the main character of the play, is Iago's primary pawn. Roderigo becomes a secondary card in Iago's deck, as well as his source of money. Blinded by his lo... ...ny sort of hardships such as financial difficulties or emotional manipulation just like that exercised against Othello and Desdemona. Even today, similar messages about self empowerment are widely seen in popular novels, films, and television programs. Contemporary examples include Harry Potter, "28 Days", "Sesame Street", and many others. One can almost imagine an unwealthy villager emerging from lengthy stay in a packed theatre making a firm resolve to finally regain the strength to sever ties to an untrustworthy and treacherous acquaintance. Works Cited Myers, David G. Psychology, 6th Edition. Holland, Michigan: Worth Publishers, 2001. Dolezal, Timothy William. Moor Impotency: Othello's Powerlessness in Sexual and Social Relationships. 14 Dec. 1998. University of Notre Dame. 23 June 2003 <http://www.nd.edu/~frswrite/mcpartlin/1999/Dolezal.shtml>. The Theme of Self Esteem in Othello Essay -- Essays Papers The Theme of Self Esteem in Othello For the theater-going people of the Elizabethan age, there were many hardships. Many of them experienced poor living conditions and treatment. All of them faced the dangers of a comparatively underdeveloped medical knowledge which often left the young and elderly to die of common diseases. The magic of Shakespeare is not only that historians can learn of otherwise undocumented details of the 1500's, but also that all readers can discover the many similarities between Shakespeare's day and now. These similarities reside heavily not only in speech, but also the human condition. When compared with the people we know today, Shakespeare's characters exhibit only skin-deep differences. Some identical language expressions may owe their modern existance to Shakespeare's presence in literary education, but identical emotional reactions surely cannot stem solely from the lecture hall. The English inhabitants of the 16th century, as seen through William Shakespeare's eyes, experienced the same love, hate, and jealousy that we do today. Just as our modern films and music often include implied moral lessons, so too does Shakespeare's The Tragedy of Othello the Moor of Venice. All its primary characters and themes of unstable love and exploitation culminate into one simple message about the key importance of loving oneself. Iago, the villian of the tale, is responsible for initiating most of the turbulence found in the plot. Essentially, Iago chooses two insecure individuals on which to work his exploitation: Roderigo and Othello. Othello, arguably the main character of the play, is Iago's primary pawn. Roderigo becomes a secondary card in Iago's deck, as well as his source of money. Blinded by his lo... ...ny sort of hardships such as financial difficulties or emotional manipulation just like that exercised against Othello and Desdemona. Even today, similar messages about self empowerment are widely seen in popular novels, films, and television programs. Contemporary examples include Harry Potter, "28 Days", "Sesame Street", and many others. One can almost imagine an unwealthy villager emerging from lengthy stay in a packed theatre making a firm resolve to finally regain the strength to sever ties to an untrustworthy and treacherous acquaintance. Works Cited Myers, David G. Psychology, 6th Edition. Holland, Michigan: Worth Publishers, 2001. Dolezal, Timothy William. Moor Impotency: Othello's Powerlessness in Sexual and Social Relationships. 14 Dec. 1998. University of Notre Dame. 23 June 2003 <http://www.nd.edu/~frswrite/mcpartlin/1999/Dolezal.shtml>.

Comparing Stanislavski and Brecht’s Acting Techniques

Comparing Stanislavski and Brecht’s acting techniques Early life Bertolt Brecht was born in Augsburg, Bavaria. On the 10th February 1898 Brecht's home life was comfortably middle class, despite his occasional attempt to claim peasant origins. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the â€Å"dangerous image of the self-denying woman† that recurs in his drama. When he was 16, the First World War broke out.Fearing persecution, Brecht left Germany in February 1933, when Hitler later took power. Stanislavski was born in Moscow on the 17th on januray 1863. Stanislavski had a privileged youth, growing up in one of the richest families in Russia, the Alekseyevs. He was born Constantin Sergeyevich Alexeyev – â€Å"Stanislavski† was a stage name that he adopted in 1884 in order to keep his performance activities secret from his parents. As a child, Stanislavski was exposed to the rich cultural life of his family. His interests included the circus, the ballet, and puppetry.Increasingly interested in â€Å"living the part,† Stanislavski experimented with the ability to maintain a characterization in real life, disguising himself as a tramp or drunk and visiting the railway station, or disguising himself as a fortune-telling gypsy. Techniques Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his epic theatre-Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage.Brecht thought that the experience of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effec t change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable.The distancing effect is achieved by the way the â€Å"artist never acts as if there were a fourth wall besides the three surrounding him. The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place. † The use of direct audience-address is one way of disrupting stage illusion and generating the distancing effect. In performance, as the performer â€Å"observes himself,† his objective is â€Å"to appear strange and even surprising to the audience. He achieves this by looking strangely at himself and his work.Whether Brecht intended the distancing effect to refer to the audience or to the actor or to both audience and actor is still controversial among teachers and scholars of â€Å"Epic Acting† and Brechtian theatre. By disclosing and making obvious the manipulative contrivances and â€Å"fictive† qualities of the medium, the viewer is alienated from any passive acceptance and enjoyment of the play as mere â€Å"entertainment. † Instead, the viewer is forced into a critical, analytical frame of mind that serves to disabuse him of the notion that what he is watching is necessarily an inviolable, self-contained narrative.This effect of making the familiar strange serves a didactic function insofar as it teaches the viewer not to take the style and content for granted, since the medium itself is highly constructed and contingent upon many cultural and economic conditions Stanislavski's ‘system' is a systematic approach to training actors. Areas of study include concentration, voice, physical skills, emotion memory, obse rvation, and dramatic analysis. Stanislavski's goal was to find a universally applicable approach that could be of service to all actors. Yet he said of his system: â€Å"Create your own method.Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you. † Many actors routinely identify his system with the American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the ‘inside out' and the ‘outside in'. Emotion memory-Stanislavski's ‘system' focused on the development of artistic truth onstage by teaching actors to â€Å"experience the part† during performance.Stanislavski hoped that the ‘system' could be applied to all forms of drama, including melodrama, vaudeville, and opera. He organised a series of theatre studios in which young actors wer e trained in his ‘system. ‘ At the First Studio, actors were instructed to use their own memories in order to express emotion. Stanislavski soon observed that some of the actors using or abusing this technique were given to hysteria. He began to search for more reliable means to access emotion, eventually emphasizing the actor's use of imagination and belief in the given circumstances of the text rather than her/his private and often painful memories.The Method of Physical Actions- In the beginning, Stanislavski proposed that actors study and experience subjective emotions and feelings and manifest them to audiences by physical and vocal means. While in its very earliest stages his ‘system' focused on creating truthful emotions and embodying them, he later worked on the Method of Physical Actions. This was developed at the Opera Dramatic Studio from the early 1930s. Its focus was on physical actions as a means to access truthful emotion, and involved improvisation. The focus remained on reaching the subconscious through the conscious.