Superobjective: Useful or Not?

So the question asks whether the idea of the superobjective, the higher goal of the character is useful or not, to the actor. But what is a superobjective? Traditionally it stands at the heart of Stanislavski’s system, the overall desire of the character which rules all of their interactions throughout the play/screenplay. It is important because it helps you to understand what drives your character, pushing them through each scene of the play/screenplay. This individually helps you to make specific scene choices with reference to the superobjective. But the superobjective is a bit of a puzzle, it’s a little bit – which came first? The chicken or the egg, because often your scene analysis gives you a piece of the puzzle and when they are added together, the superobjective becomes clear. On the other hand you can start with an idea of your superobjective and let it influence your scene analysis. I believe the best way is to ask the question ‘what is my character’s driving underlying need?’ – ask this when you read the
script, ask this whenever you search for the superobjective, ask this when doing a scene analysis. Let it feed your understanding of the play/screenplay. Let it feedback into your work and let it inform all of your choices. Lastly, the superobjective is not playable, it is important but you cannot act upon it. You can only take each scene at a time, one task at a time, working off your
partner. If anything, the superobjective is a way of checking and testing your choices follow a logic derived from the script.