Like many people, I have been poring over reportage about the Islamic State, and I came across a discussion of what makes people vulnerable to ISIS recruiters, and ultimately prompts them to join ISIS:

The appeal of Islamic State rests on individuals’ quest for what psychologists call “personal significance,” which the militant group’s extremist propaganda cleverly exploits. The quest for significance is the desire to matter, to be respected, to be somebody in one’s own eyes and in the eyes of others.

This quest for what these psychologists call personal significance is what we call underlying objective in the approach taught by me and by Evan Yionoulis at the Yale School of Drama. In this approach, every scene, and in fact every moment of every scenes, has to be understood as a bid for this personal significance, in a manner that it is independent of the medium- and long-term goals that the character has for changes in his circumstances. These medium- and long- term goals, which we call plot objectives in the approach, are easier to spot, and tempting to fixate on as a way of articulating something to pursue as a character, but they are insufficient, generally, for the purpose of helping the actor to activate her own visceral need for personal significance, her need to matter, to be meaningfully connected to others.

It’s striking to see that even in the case of people who join such an alien and horrific organization, we can understand something about what motivates these people with this notion of underlying objective.

It’s a revolution in the way in which scenes from dramatic texts, and indeed human encounters more broadly, are understood. Sign up for a class at Andrew Wood and plug yourself into this amazing source of acting power.