ON ACTING: Singular and Fundamental Objectives

If the actor defines multiple objectives in the scene, I suggest the actor and his analysis is lost in the branches, obscured by the scene’s complex structure and leaves. My advice: use whatever analytical branch the actor is on as a starting off point, then follow the patterned curve of one of these larger branches down, analyzing ever further, deeper, until you discover what the fundamental goal/trunk in the scene is.
Good analytical actors are ‘why’ children. Why? Why? Why does s/he do that? Why does s/he do that? Is there something more fundamental in what the character wants?
They keep asking ‘why’ until they detect the simple and basic underlying objective thrust running from the beginning to the end of the scene. They discover the one reason, which is so all inclusive, so fundamental, that it organizes supports, unites and makes logical all the other branches, actions, sub-objectives, activities, feelings and thoughts in the scene.
If a characters’ actions in a scene are not attached to and arise from the simple basic fundamental objective trunk, all the limbs, branches and leaves of performance, the dialogue, movement, facial reactions, prop handling and thoughts will remain unconnected, unsupported and scattered on the ground, destined for quick death (by audience boredom).