Stanislavski: The Super-Objective

The 15th chapter is about how each play has what is called a super-objective, or one major theme or goal to it. Every action, objective, or tactic should always work towards this one goal. To quote the book, "The common bond must be so strong that even the most insignificant detail, if it is not related to the super-objective, will stand out as superfluous or wrong." I thought that this sentence summed up the term super-objective pretty well. The better the play is written, the more of a super-objective it has; if a play is weak or bad, it may be up to the actors to create their own super-objective. The part that made me best understand the content of this chapter was the drawings done by the Director. I understood better that if an actor has a super-objective, they are able to move in a smooth line to get to that; but if they do not, they must go all over the place to find it, which just ends up in a mess.