The ETA (Education Through Acting) process consists of six stages:

Choose a theme
Create a plot
Write lines
Reading
Blocking
Show

Key points:

Each class consists of a play director and up to six participants.

The process is driven by discussion among participants, guided by the teacher-director to encourage continuous speaking.

The goal is to create a high-quality play that could potentially be sold in commercial markets, not just a simple skit.

The stages can be applied flexibly based on the duration of the process.

For a week-long class, typically only the first stage (choosing a theme) or the first and second stages (choosing a theme and creating a plot) are completed.

THE PROCESS

1st stage Choose a theme

● Each participant takes turns presenting the theme and plot of a novel or movie they have read or watched. They must prepare in advance and express the theme in a concise sentence, such as “EVERYTHING DEPENDS ON MIND.” Afterward, they describe the plot in detail to explain why this theme was chosen.
● Example:
I chose King Lear by William Shakespeare. The theme is: “You will confront a huge catastrophe if you don’t grasp the truth.”
Here’s the story: Lear, King of Britain, has three daughters. He decides to divide his kingdom among them based on how much each professes their love for him. The eldest two daughters flatter him with grand declarations, while the youngest, Cordelia, refuses to exaggerate her love, stating that true love cannot be measured by words. Enraged, Lear disowns Cordelia and splits his kingdom between the other two daughters. However, they betray him and drive him out. Cordelia later returns to aid her father but is tragically killed by her sisters. The conflict leads to further destruction as the sisters turn on each other, resulting in their deaths. Lear, overwhelmed by grief upon discovering Cordelia’s death, dies as well. His failure to recognize the truth destroys his family and kingdom.
● Presentations must adhere to the 5W1H principle (Who, When, Where, What, Why, and How). Each explanation should be detailed and thorough rather than brief or summarized.
● The director guides the discussion, documenting all contributions while correcting any language errors made by participants.
● If a participant is a play director, s/he may lead the process, with the teacher-director focusing on language support and documentation.
● The director records all discussions in detail, as these stories may serve as inspiration for future narratives.
● After individual presentations, participants divide into two groups for further discussion.
● The aim of this second discussion is to select one theme that the group collectively deems most significant or beneficial in life. Each team chooses a theme through this process.
● Once both teams have selected a theme, they reconvene for a final discussion.
● Ultimately, one overarching theme is chosen.
● It’s crucial to understand that the primary objective of these discussions is not merely to select a theme, but to deeply contemplate it, engage in dialogue, listen to others, and express individual thoughts through discussion. Participants are encouraged to share personal experiences, literary knowledge, or information from various sources. All contributions should be as detailed as possible, as any story or character mentioned may be incorporated into future storytelling.
● Always adhere to the 5W1H rule in your presentations and discussions.
● The chosen theme need not always be morally focused, but there’s no need to deliberately avoid moral considerations either.

2nd stage Create a story

● There are several key points to keep in mind when creating a story:
1 A conflict between two good sides is more compelling than one between a good side and a bad side.
2 A conflict involving three sides is more dynamic than one with only two sides.
3 The basic components of a story include exposition, complication, crisis, climax, and resolution.
4 Conflicts and revelations are essential, and twists add depth and intrigue to the plot.
5 The story should be engaging, not simplistic or childish, and it should be long enough to develop fully.
6 It’s ideal for the story to include moments of fun in the middle and emotional impact at the end.
● A simplistic or childish story makes it impossible to craft a high-quality plot. To incorporate meaningful conflicts, revelations, and twists, the story must have sufficient length and complexity.
● If a scene is too short, it can disrupt the continuity of the narrative. Each scene should last at least 10 minutes to maintain flow and coherence.
● Naming each scene can help clarify its purpose and objective within the story.
● The starting point for creating a new story is all the ideas discussed so far. Analyzing, combining, or extracting elements from these discussions can serve as inspiration. However, participants are entirely free to create an original story beyond these references.This revision ensures clarity, professionalism, and smooth readability while maintaining the original meaning and structure.
● Identifying compelling characters from previously discussed stories can serve as an excellent starting point for new narratives.
● It’s important to consider the relationship between the theme and the plot. For instance, while the theme of Shakespeare’s “King Lear” may relate to truth, the story primarily revolves around family dynamics. This demonstrates that the plot doesn’t need to directly mirror the theme.
● Each participant should create and present their own story, adhering to the 5W1H principle. The narrative should be complex, incorporating conflicts, revelations, and twists. This combination of elements contributes to a lengthy and engaging story.
● The story should maintain a logical flow without any jarring inconsistencies or implausible leaps in narrative.
● New stories can be developed from a single event or character. There are no restrictions on creativity. The process involves presenting, discussing, and collaboratively developing stories to create a new narrative.
● Compelling stories often arise from the clash of characters with conflicting needs or desires. Therefore, developing clear, well-defined characters can significantly contribute to crafting a strong narrative.
● The story revolves around one or more protagonists, with other characters having diverse objectives. The narrative develops through the protagonist’s varying relationships with these characters.
● Begin by selecting the main character and establishing different relationships with them. Discuss the interactions and events, then refine and expand the story accordingly.
● Each participant chooses a role to play once the story is created. Roles are distributed based on individual preferences during the discussion. This marks the beginning of writing a detailed narrative.
● Before crafting the detailed story, participants write fictional biographies for all roles. They discuss and agree upon the characteristics of each character.
● Once the story is created using the 5W1H framework, roles are assigned, and character traits are determined, participants should decide on the detailed events of each scene.
● EXPOSITION typically introduces the characters, clarifying who appears in the play and their relationships. This stage reveals their basic characteristics and tendencies.
● COMPLICATION usually presents simple events that serve as catalysts for the main plot. Various techniques can be employed to misdirect the audience, adding complexity and allowing for plot twists.
● In the CRISIS stage, conflicts between characters intensify. The tension builds steadily, approaching its breaking point.
● CLIMAX is the explosive culmination of all conflicts. It’s at this point that the true nature of alliances and enmities becomes clear to the audience.
● RESOLUTION involves the rearrangement of relationships. Some may be severed while others are restored. A tragic ending results from severed relationships, while restored relationships lead to drama. Through these relationship changes, characters confront the truth, and the play’s theme is revealed.

3rd stage Write lines

● Lines are written scene by scene. When the actors gather, they simply speak according to the scene, embodying their assigned roles from the script. Conversations between characters form the lines. Both the actors and the director collaborate to write these interactions and make corrections as needed.
● One crucial aspect of writing lines is maintaining character consistency. For example, an outgoing character should remain outgoing throughout the story. Sudden and unexplained changes in a character’s behavior can confuse the audience.
● Lines written during meetings will be shared via email with all participants. Each participant reviews them, reflects on them, and, if necessary, discusses them further in the next meeting.
● A helpful approach to writing lines is to consider “If I.” If I were this character, what would I do in this situation? Then, express those thoughts through dialogue.
● Lines should avoid being childish and should minimize the use of vulgar language or slang. While such expressions may seem entertaining, they can detract from both the quality of the script and the integrity of the language.
● By the time the script is finalized, participants will likely have memorized most of their lines through repeated discussions and revisions.
● The director is responsible for completing the script. After each meeting, the director sends all notes and updates to the participants. The final touches on the script are made by the director to ensure its completion.
● Once the lines are finalized and the script is ready, it’s time to begin rehearsals.

4th-5th stage Reading and Blocking

● Rehearsal is more than mere memorization. It’s not simply assembling pre-determined elements from the director. Each participant can contribute their own ideas. Any disagreements should be resolved through discussion. Thus, rehearsal is a process of addressing and resolving differing viewpoints through collaborative dialogue.
● The director leads rehearsals with a focus on creating a high-quality production. Participants must embrace their roles as actors, aiming to create a show that could be immediately marketable in the commercial sphere.
● Expression is a fundamental human instinct, suggesting that anyone has the potential to be an actor.
● Actors begin by memorizing not only their own lines but the entire script. A 60-minute script typically contains around 1,500 sentences.
● Actors are at the core of acting. While they decide how to deliver lines, move, and use gestures, the director determines overall movement patterns and structures the play according to the five stages: EXPOSITION, COMPLICATION, CRISIS, CLIMAX, and RESOLUTION.
● The more an actor develops their role, the more opportunities the director has to create nuanced direction.
● One of the most widely used techniques in rehearsal is “If I.” This involves the actor asking themselves: “If I were this person, what would I do in this situation?” This technique, known as the Magic If, is a fundamental approach to acting.
● The initial stage of rehearsal, called Reading, involves actors sitting and reading the script. Blocking encompasses all subsequent rehearsal processes where actors move without referring to the script.
● The director determines the duration of the fourth stage.
● Actors must prepare individually before rehearsals, including memorizing lines. Rehearsal serves to check one’s acting against others, identifying inconsistencies or shortcomings. The director intervenes when necessary, providing guidance to actors. Rehearsal is a continuous dialogue between actors and director to achieve optimal results. The director’s decisions are final, and actors should accept the director’s propositions even if they disagree.
● The director progressively increases demands to ensure a high-quality production. Teaching movement and performance techniques is part of the director’s role.
● Creative elements like set design, lighting, wardrobe, makeup, music, and sound should be developed concurrently. Participants can volunteer for these tasks; otherwise, the director assumes responsibility.
● If a participant can compose music or songs, a musical play becomes possible, provided the director knows how to prepare such a production.
● Participants may face unexpected situations requiring agreement with others, necessitating changes in their acting or persuasion of others.
● Language transcends mere words, encompassing entire contexts. Rehearsal creates and recreates these contexts, imprinting them within the actors who bring them to life.
● (In FLETA, while script writing initiates verbal expression, rehearsal embeds language within actors-participants. This process transforms speaking the language into a habit.)

6th stage Show

● The show will take place in a theatre, with other teams forming part of the audience.
● Directors will manage sound and lighting controls during the show.
● The performance is open to the public, allowing anyone to attend. Participants are welcome to invite guests.
● While not free, the show is priced affordably to ensure accessibility.