It is easier to see your character's beat objective, each of these beat objectives stem from your character's scene objective, and all these scene objectives can be seen as springing from a deep, overall objective that is your character's superobjective.
The idea of a superobjective is easier to grasp if you think of it as a life goal or a guiding principle governing your character's behavior, often on an unconscious level. They can also be "negatives," such as the avoidance of failure or ridicule. And they can be idealistic such as a passion for justice or freedom.
In real life, people often have life goals that influence their behavior, but it is not easy to identify someone's superobjective unless you have a lot of experience with the person and know him or her well. In a similar way, your understanding of your character's superobjective will develop gradually as you rehearse; it will be the result of your experience of the role, not a prerequisite for it. Nonetheless, it may be useful to form a general idea of the superobjective early.
SUPEROBJECTIVE AND DRAMATIC ACTION
As characters struggle toward some goal against obstacles, the play's dramatic action has a central purpose or idea. This purpose is called the superobjective os spine of a play, so named because it provides the superstructure for the character' individual objectives and actions. The superobjective is formulated as a function of the drama's driving conflict. In the words of Stanislavski:
"The superobjective is the quintessence of the play.
The through-line of action is the leitmotif which runs through the entire work.
Together they guide the creativeness and strivings of the actor".
Notice that the superobjective is formulated with a strong action verb and object. This action verb formulation serves the same energizing function for the play that it does for the actor. As you work to determine a superobjective, ask yourself how your statement provides a purpose for the dramatic action. This means identifying the central conflict in the play and how the dramatic action works to resolve it.
Your character's dramatic function is to further the through-action of the play; so all that you choose to do on stage, each objective and action, must result from a clear sense of your character's relationship to the superobjective of the play: Plot and action elucidate each other. You must see your character in relation to the whole play as a generator of action.
Your character's superobjective, sometimes called the motivating desire, determines all that he or she will do, so the choice you make will have ramifications in every moment of each scene. You cannot choose a superobjective for your character that does not fall within the central meaning and action of the play or your performance will be unrelated to the whole. Most characters' objectives serve to either advance or hinder the realization of the play's superobjective, the one providing obstacles for the other, giving rise to the central conflict in the play Your definition of your character's super objective determines the choice of physical actions through which your character reveals the plot.
Characters' superobjectives are the result of the conflicts that drive their actions.
Types of conflict:
Between characters with opposing personal goals who provide obstacles for each other.
Conflict can find its roots within the individual working out a personal dilemma.
Conflict with a situation.
Conflict from an individual at odds with society.
In complex plays, the central conflict can cause repercussions on other levels. Social conflict usually results in personal conflicts with representatives of opposing social forces, as well as inner emotional conflict as the hero struggles with a choice of action. Hamlet is such a complex play; because every level of conflict is present.
Your choice of motivating conflict gives a distinct interpretation to the play.
If you choose to play the inciting conflict in Hamlet as a sociopolitical one, Hamlet's superobjective becomes to regain the throne.
A clear statement of your superobjective guides you through each smaller objective in the play. Just as you formulated objectives, the superobjective is formulated with "I want," followed by a strong action verb that draws you into the dramatic action. The set of actions your character makes throughout a play is your through-line of action or through-action. These should all be directed toward fulfilling your superobjective if the pattern of action is to be logical and coherent.
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