The Arts · Grade 9 · The Actor's Instrument · Term 1

Character Development: Objectives and Obstacles

Exploring how characters' motivations (objectives) and challenges (obstacles) drive dramatic action.

• Ontario Curriculum Expectations
• TH:Cr1.1.HSII
• TH:Pr5.1.HSII

About This Topic

In Grade 9 drama, character development centers on objectives and obstacles, the core drivers of dramatic action. An objective is the character's urgent want in a scene, such as gaining approval or escaping danger. Obstacles, whether internal doubts or external conflicts, create tension and force tactical choices. Ontario Arts curriculum standards like TH:Cr1.1.HSII and TH:Pr5.1.HSII guide students to analyze how objectives shape physical stance, gestures, and vocal tone, predict strategy shifts with new obstacles, and craft monologues that reveal these elements clearly.

This topic anchors The Actor's Instrument unit by linking internal motivations to external performance skills. Students build analytical depth, connecting personal experiences to character psychology, which supports collaborative scene-building and solo expression. It fosters empathy and adaptability, key for theatre creation and refined performances.

Active learning benefits this topic most through embodiment. When students improvise scenes, physically pursue objectives, and react to live obstacles, they experience the concepts kinesthetically. This approach strengthens memory, boosts confidence in vocal and physical choices, and reveals nuanced strategies that reading alone cannot provide.

Key Questions

1. Analyze how a character's objective influences their physical and vocal choices.
2. Predict how a new obstacle might change a character's strategy in a scene.
3. Design a short monologue that clearly communicates a character's primary objective.

Learning Objectives

• Analyze how a character's stated objective influences their physical and vocal choices in a given scene excerpt.
• Predict how a specific new obstacle, introduced by the teacher, would alter a character's strategy and actions within a familiar scene.
• Design and perform a short, original monologue (30-60 seconds) that clearly communicates a character's primary objective through action and subtext.
• Evaluate the effectiveness of a peer's monologue in conveying a clear character objective and identifying potential obstacles.
• Explain the relationship between a character's internal motivation (objective) and their external behavior (actions, vocalization).

Before You Start

Introduction to Dramatic Elements

Why: Students need a foundational understanding of basic dramatic elements like character, plot, and setting before exploring character objectives and obstacles.

Basic Improvisation Techniques

Why: Familiarity with spontaneous scene creation and responding in the moment is helpful for embodying character objectives and obstacles.

Key Vocabulary

Objective	A character's specific, urgent want or goal within a scene. It is what the character is actively trying to achieve.
Obstacle	A challenge or barrier, either internal (like fear or doubt) or external (like another character or a physical barrier), that prevents a character from achieving their objective.
Dramatic Action	The physical and vocal choices a character makes in pursuit of their objective, often in response to obstacles.
Strategy	The specific plan or approach a character employs to overcome obstacles and achieve their objective.
Subtext	The underlying meaning, emotions, or intentions that are not explicitly stated but are communicated through a character's actions, tone, and pauses.

Watch Out for These Misconceptions

Common Misconception

Characters act randomly without clear purpose.

What to Teach Instead

Characters always pursue objectives, even subtly. Active role-playing helps students test random actions against purposeful ones, revealing how objectives unify choices. Peer feedback during improv clarifies this, as classmates spot inconsistencies in motivation.

Common Misconception

Obstacles are only external events.

What to Teach Instead

Obstacles include internal conflicts like fear or guilt. Improvisation with personal obstacles makes this tangible, as students vocalize inner barriers. Group discussions after scenes help compare external and internal impacts on strategy.

Common Misconception

Objectives do not affect physical or vocal choices.

What to Teach Instead

Objectives dictate tense posture for urgency or soft voice for persuasion. Tableau activities freeze these choices for analysis, helping students link internals to externals. Performing monologues reinforces the connection through trial and reflection.

Active Learning Ideas

Improv Pairs: Objective Pursuit

Pairs choose a simple objective, like 'convince your partner to share a secret.' They perform a 2-minute scene, then the teacher introduces an obstacle, such as 'your partner distrusts you.' Pairs adapt tactics immediately and debrief on physical and vocal changes. Rotate partners for variety.

35 min·Pairs

Monologue Creation Stations

Set up stations with scenario cards listing objectives and obstacles. Students spend 5 minutes per station drafting a 1-minute monologue, focusing on physical embodiment. Groups share one monologue, receiving peer feedback on clarity of objective. Compile into a class performance showcase.

45 min·Small Groups

Obstacle Escalation Circle

In a circle, one student starts a scene with an objective. Each classmate adds an obstacle in turn, prompting real-time adaptation. The performer notes tactic shifts. Rotate roles twice, followed by group discussion on vocal and movement choices.

30 min·Whole Class

Character Analysis Tableau

Small groups select a scripted scene, freeze in a tableau showing objective vs. obstacle. Class predicts next action. Groups defend choices with evidence from physicality and voice, then perform a short continuation.

40 min·Small Groups

Real-World Connections

• Actors in a film production meeting with the director to clarify their character's objective in a pivotal scene, discussing how to physically embody the character's desperation to achieve it.
• Writers for a television drama developing plot points by introducing new obstacles for characters, observing how these challenges force characters to change their plans and reveal new facets of their personality.
• A lawyer preparing for a closing argument, identifying their client's core objective and anticipating the opposing counsel's obstacles, then strategizing the most persuasive way to present their case.

Assessment Ideas

Exit Ticket

Provide students with a brief character description and a scene scenario. Ask them to write: 1. The character's primary objective. 2. One potential obstacle. 3. One specific action the character might take to pursue their objective.

Quick Check

During improvisation, observe students and ask targeted questions: 'What do you want right now?' (objective) and 'What is stopping you?' (obstacle). Note student responses to gauge understanding of core concepts.

Peer Assessment

After students perform their objective monologues, have peers complete a simple feedback form. Questions could include: 'Was the character's objective clear? Yes/No. If no, what was unclear?' and 'What was one obstacle implied or stated in the monologue?'

Frequently Asked Questions

How do you teach character objectives and obstacles in Grade 9 drama?

Start with relatable scenarios, like wanting a phone back from a parent. Model a demonstration scene, highlighting objective and obstacle. Use improv pairs to practice, then analyze scripts. This builds from concrete experiences to abstract application, aligning with Ontario standards for creation and performance.

What activities work best for character development in theatre class?

Improv with escalating obstacles, monologue workshops, and tableau freezes engage students kinesthetically. These reveal how objectives drive tactics. Debriefs ensure analysis ties back to physical and vocal choices, preparing students for full scenes and assessments.

How can active learning help students understand objectives and obstacles?

Active approaches like pair improv and obstacle circles let students physically and vocally pursue wants against barriers. This embodiment makes concepts immediate and memorable, unlike passive reading. Students gain confidence adapting tactics, improving scene work and monologue clarity while developing empathy for characters.

Common misconceptions about character objectives in high school drama?

Students often think actions are random or obstacles purely external. Correct through guided improv where they experience unified purpose and internal conflicts. Peer tableau critiques reinforce links to physicality, turning errors into teachable moments for deeper understanding.