Choosing objectives:

     Objectives must always be difficult to attain.

     The secret of all drama is difficulty.

     Plays and films are about people struggling to accomplish things.

       Conflict between people.

     Conflict inside the characters themselves.

     Difficulty is the fuel that lights our acting fires.

     When you act, you should concentrate on your character's objective, nothing else.



ideal image


animal characterizations

center of character

make choices





secret self

     To make a decision based not on investigating our inner psyche, but on our theatrical sense.

  1. Actor make choices.
  2. Actor: you have stuff to become a good actor, must make good choices. What is it about? Showmanship.
  3. All choices come from the type of style.
  4. All choices how people will react. You begin to make choices. Effect scene has on audience. (Part of how you plan it.) Style: drama. Objectives.
  5. Always chose an objective that best serves the scene.
  6. Am I where I should be.
  7. As an actor, make your own choices. Never argue with the director, just say, could I show you something.
  8. Behavior before scene: what are the possibilities?
  9. Best emotion to serve scene.
  10. Center of character.
  11. Choice best emotion of scene.
  12. Choice stimuli, that will make you big.
  13. Choice the emotion that best serves the scene.
  14. Choice the emotion that best suits the scene.
  15. Choice the emotion that fits scene, if it fits or not.
  16. Choice the opposite.
  17. Choice things you can act with color. Interest the audience.
  18. Choice wisely. Think beyond the ordinary people. Emotion: are not that simple. How to approach it: demise the obvious. Object - to not go to pieces - hysteria
  19. Choices have to be interesting.
  20. Choices made on the style.
  21. Choices of actors: What will make this interesting to the audience?
  22. Choices of what to do.
  23. Choices that best fit the scene.
  24. Choices: objective and emotion.
  25. Chose an objective that is actable, not physically.
  26. Comes from the actor.
  27. Compassion is like pity, don't use it as your characters emotion.
  28. Consider what the audience has to feel.
  29. Cover guilt, opposite of emotion.
  30. Deal with persons defenses, not their weakness.
  31. Deal with the innards of the character.
  32. Defeated choices: Wrong.
  33. Difference to what is in your head to what is in your feelings.
  34. Don't be yourself with just emotion and objective, also who am I.
  35. Don't have comfortable choices.
  36. Don't look for psychological conclusions as an actor.
  37. Don't make apparent choices. Today, what's off beat, be a showman.
  38. Don't make bad choices. If the choices are wrong, scene won't work.
  39. Don't play a man not knowing his situation. Read about times and places; make decisions.
  40. Don't rationalize.
  41. Don't take dialogue entirely literally for choices.
  42. Each choice is important.
  43. Emotion and objective don't go together. They can even be in conflict which is most of the time anyway.
  44. Emotion that best fits the scene.
  45. Find the key.
  46. Find the opposites of the person.
  47. Find yourself in doubt you loose voice, fear of sounding like you're acting. Can't avoid by whispering.
  48. Good actor: when to do it, how to do it, and right choices.
  49. How a story is constructed to make choices.
  50. How crazy is the situation?
  51. How the character thinks of themselves.
  52. How this scene effects audience. (Audience is shocked and alarmed).
  53. How to make choices?
  54. How to make choices for people of different periods. People other times. European people had a wife and a mistress done a lot. Don't react like Americans.
  55. How to make choices that work?
  56. If I do this is it possible?
  57. If I make that choice, can the next thing work.
  58. If it doesn't have anything to do with the story: don't do it!
  59. If you have to choice between funny or real, choice real.
  60. In making choices, it is where you are in the story and how much the audience should know.
  61. Invent your own characters routine.
  62. It's matter of choices, the most important.
  63. It is all a matter of choices.
  64. Key to behavior.
  65. Learning how to choice.
  66. Let your talent help make choices, it's better than just reasoning it out.
  67. Loads of emotions can cause aggravation. Never choice therapeutically.
  68. Look for contrasts.
  69. Look for positive values.
  70. Look for selfish motive.
  71. Look for ways to make up characters. Choices.
  72. Look under the words. Choices.
  73. Make choices: is this possible? Could the scene go this way. Can't just happen because of words. Must happen with his curio. Words are foolish. Words don't do it. Forget the ()'s.
  74. Makes choices accordingly.
  75. Make choices that favor style.
  76. Make choices with character.
  77. Make good choices.
  78. Make no judgments about character.
  79. Make positive choices, never negative choices.
  80. Make your own choices.
  81. Making choices, where the hell are you in the story. How much the audience should know.
  82. Must make the right choices.
  83. Never make pictures of your character.
  84. No writing of depth, as an actor you must create a character.
  85. One part of story.
  86. Person in shock choice two emotions go from one emotion to another. (Rage and grief.)
  87. Physical behavior moves staging.
  88. Pick something to help you act.
  89. Portrait of characters.
  90. Positive choices never negative, more effective.
  91. Protagonist choice things the audience admires.
  92. Rules of style: Read material; What is it? The key. To make choices from what should it do to audience.
  93. Solve with attitude that works.
  94. Stay honest. Think objective, saves you from making a lot of mistakes.
  95. Story ends a certain way, must lay tracks to it. Understand the story. Make right choices.
  96. Story: Plot: Who is central character: the protagonist. Find the rhythm of play. Find the key. Actor: you have stuff to become a good actor, must make good choices. What it is about? Showmanship.
  97. Theater is a series of effects. Audience will make their own truths. Make the right choice. Can it be accepted as true. Audience believe the character. Art is not truth.
  98. The mask. What is really going on inside the person is what you choose. What they pretend is only their mask.
  99. Then jumping off the diving board.
  100. Things that make no sense.
  101. Think it through, make choices, plan it in detail. Must play the discoveries, not line to line. (The characters form a bond in steps.) Give the audience time.
  102. Think of the obvious.
  103. To work: Total opposites.
  104. Try to improve your own character. Understand different times, like Grapes of Wrath. Read about them. Learn social values of different times 50's, 60's, 70's, 80's and 90's to make choices.
  105. Understand scene. How it relates to story, then make choices.
  106. Understand the material to make choices.
  107. Value of the causes.
  108. What are the choices?
  109. What do I feel?
  110. What emotion would you choice?
  111. What is my objective?
  112. What kind of human being am I.
  113. Whenever possible, make your character attractive.
  114. When you approach a scene, you have to say to yourself what is going to hold the interest of the audience, besides my sparkling personality?
  115. Who am I?
  116. Who are the protagonist?
  117. Who is aggressor?
  118. Why is scene there, make choices accordingly.

  1. About choices. Find what is funny. Turn around.
  2. Audience identification. Not just gags. Why there is silence from audience? Matter of choices.
  3. Choice emotion for drama then go it higher for comedy.
  4. him - terror - outside the nine dots, the unusual is the objective - Outstanding. Pick the emotion that fits the scene. Choice the exact opposite in objectives. Scene is not conversation, it is combat.
  5. Nothing unusual going on, no laughter. We laugh at what is kooky. You have to make the right choices. For director it is casting.
  6. Scene is weird, make choices off the wall, outside the nine dots.
  7. What is going on that is going to amuse or interest the audience.
  8. What's funny for character.

"In the end, it can't look like acting."