In the Chubbuck Technique, a Scene Objective is not just a technical acting term; it is the heartbeat of the scene. Defined in Ivana Chubbuck’s book The Power of the Actor, the Scene Objective is what your character wants in the moment, right now. It is an active goal your character is desperately trying to achieve during the scene, and it must be rooted in deep emotional need. A good Scene Objective should feel like something your character cannot live without. It is not a casual desire; it is urgent, essential, and tied to survival or emotional fulfillment.
What makes Scene Objectives powerful is how they are woven into the DNA of the scene. Without a clear objective, a scene risks becoming flat, meandering, and emotionally aimless. A character without a Scene Objective is like a car without a destination: it may look nice, it may even move, but it’s going nowhere. The Scene Objective transforms dialogue into action, and performance into purpose. It gives the actor a reason to speak, to listen, to move, to fight.
Importantly, a Scene Objective is never passive. It always involves another person in the scene. You cannot want something “in general” — you must want something from someone. This keeps the actor engaged in real-time stakes. For example, rather than “to express my sadness,” a better Scene Objective might be “to make him feel guilty for leaving me.” That subtle shift moves the actor from displaying emotion to using emotion as a tool to accomplish something.
Scene Objectives are the scene’s engine. They’re what fuel intention and help define the beginning, middle, and end of a scene. When crafted well, they provide a road map for beats, tactics, and emotional arcs. They are the first line of defense against stale, one-note acting. Whether in a monologue or a scene partner exchange, your objective gives you a mission. You’re no longer just “saying lines” — you’re fighting for something meaningful. And that changes everything.
Why It’s Important
The importance of Scene Objectives in acting cannot be overstated. In life, we are always in pursuit of something—validation, love, power, forgiveness, control. The same should be true in performance. Audiences aren’t moved by watching someone simply experience an emotion; they’re captivated by watching someone fight for what they want while experiencing emotion. That’s what makes a performance real, dynamic, and layered.
Ivana Chubbuck’s technique shifts the actor’s focus away from emotional indulgence and toward purposeful behavior. Emotions become the byproduct of that behavior, not the end goal. This is a seismic shift in how many actors are trained to approach a role. Instead of focusing on “feeling sad,” you focus on trying to make your partner admit they’re wrong. In the process of pursuing that goal, the sadness naturally emerges—and with it, truth.
Scene Objectives also give the actor agency. You are no longer waiting for inspiration or emotional waves to hit you; you are taking action. You have something to do in the scene, not just something to feel. That action-oriented mindset is incredibly empowering, especially under pressure. It also adds structure to your scene work, making it easier to navigate emotional highs and lows with purpose and precision.
More than anything, Scene Objectives make your work watchable. They add stakes, tension, and unpredictability. The audience leans forward because they subconsciously recognize that the character is pursuing something, and that they might win or lose. That simple equation—want + obstacle + action = tension—is at the core of drama. Without a clear Scene Objective, that equation falls apart.
How to Create a Strong Scene Objective
Crafting a compelling Scene Objective begins with understanding your character’s emotional truth. Start by asking: What does my character want from the other person in this scene? What need are they trying to satisfy? What would it mean to win this moment? The answer should be deeply personal and emotionally resonant. You’re not just trying to “talk about the past” — you’re trying to “make her admit she never loved me.”
Once you’ve identified what your character wants, make sure it’s active. A good Scene Objective is something you can pursue, not just think about. “To get him to give me absolution” is active. “To feel sad about what I did” is passive. This distinction is critical. Chubbuck emphasizes that the scene is a fight. You must have something to win or lose, and you must be actively trying to win it.
Your Scene Objective should also align with your character’s Overall Objective—their lifelong emotional goal. If your character’s Overall Objective is to feel worthy of love, then your Scene Objective might be to get your partner to see you as enough. Each scene becomes a stepping stone toward that bigger goal, and the connection between them deepens the performance.
Finally, clarify the stakes. Ask yourself: What happens if I don’t get what I want? The higher the stakes, the more powerful your performance. If the answer is “nothing much,” your objective needs work. But if failing means losing love, identity, safety, or purpose, the scene comes alive. That’s the fuel that drives your fight.
Common Mistakes
One of the most common missteps actors make is confusing emotional states with objectives. You might decide, “My objective is to be angry.” But anger is a feeling, not a goal. Instead, ask what you’re trying to achieve with that anger. Are you trying to intimidate, to punish, to force the other person to change? The objective is about the result you’re fighting for, not the feeling you’re sitting in.
Another frequent mistake is making the objective about the actor rather than the character. Statements like “I want to show the audience I’m broken” or “I want to cry” are ego-driven and counterproductive. The Scene Objective must always be about what the character wants from another character. That keeps the scene grounded in truth and keeps your focus on connection, not performance.
Vagueness is another killer of great acting. If your Scene Objective is something like “to get her to listen,” it lacks urgency and depth. What are you really trying to get her to hear? A confession? An apology? A promise? Be specific. Precision adds fire to your choices.
Finally, actors often fail to commit emotionally. They might intellectually know the Scene Objective, but they haven’t connected it to a personal truth. The Chubbuck Technique demands personalization. Use Substitution and Inner Objects to make the Scene Objective matter to you. When it does, the audience will believe it matters to the character.
Example from Good Will Hunting
In Good Will Hunting, there’s a pivotal scene where Will (Matt Damon) is in therapy with Sean (Robin Williams), who tells him over and over again, “It’s not your fault.” At first glance, it may seem like an emotionally charged moment of breakthrough. But what’s really happening beneath the surface?
Will’s Scene Objective in that moment could be: “To prove to Sean that I don’t need anyone.” It’s a defense mechanism built on years of abandonment and pain. Will uses sarcasm, deflection, and intellectual superiority as tactics to protect himself. His goal isn’t to heal; it’s to stay safe by keeping others at arm’s length.
But Sean won’t let him. His own tactics include patience, honesty, and empathy. He repeats, “It’s not your fault,” not as a platitude, but as a direct hit at Will’s emotional wall. Eventually, Will’s tactics fail. He can no longer deflect. The wall breaks, and he sobs in Sean’s arms. This isn’t just an emotional release; it’s the moment Will’s Scene Objective shifts. He lets someone in.
This scene is a masterclass in how Scene Objectives create tension, movement, and payoff. Every beat is driven by pursuit, resistance, and eventual surrender. Without clear objectives, this scene would fall flat. With them, it becomes iconic.
Actions vs. Objectives
Understanding the difference between actions and objectives is crucial. Your objective is what you want. Your actions are tactics, ways how you try to get it. For example, if your Scene Objective is “to get him to forgive me,” you might try to make him laugh, remind him of better times, break down in tears, or get angry and blame him. All of those are tactics.
Actions are the tools your character uses to win the scene. They change based on the responses you get. If one doesn’t work, you pivot. This keeps the performance alive and responsive. It’s also deeply human. We don’t stick to one emotional note in life, and neither should your character.
The mistake many actors make is picking one emotion and staying there. But in real life, when we don’t get what we want, we change approach. That’s where variety, texture, and unpredictability come from. And it’s what makes a performance compelling.
So while your Scene Objective anchors your performance, your Actions give it shape, rhythm, and energy. The better you understand this relationship, the more dynamic your acting becomes.
How to Rehearse with Scene Objectives
Rehearsal is where Scene Objectives move from theory to practice. One effective method is to speak your objective out loud before running the scene. This centers your focus and reminds you of your mission. Then, run the scene actively pursuing that goal. Pay attention to whether your tactics shift, and whether you’re getting closer or further from your objective.
Experimentation is key. Try running the scene with one dominant Action, then run it again with a different one. For example, pursue the objective “to win her back” first with charm, then with guilt, then with vulnerability. Each approach reveals different layers and can open up surprising emotional pathways.
It’s also helpful to rehearse with your scene partner and ask them: Did you feel like I was trying to affect you? Was there a moment when I “won” you or “lost” you? This gives you feedback on whether your objective is landing.
Finally, reflect on stakes. Ask yourself: What does my character stand to lose? The higher the stakes, the more compelling the performance. You should feel that the scene matters. If it doesn’t matter to you, it won’t matter to the audience.
Final Takeaway
At its core, a Scene Objective is a battle plan. It gives the actor purpose, power, and presence. When you know what you want—and you fight for it—you create a scene that is emotionally alive and dramatically compelling. The Chubbuck Technique teaches us that acting is not about showing emotion, but about using emotion to try and win.
So go into your next scene with a clear, specific, emotionally charged Scene Objective. Use actions (or tactics) that are surprising, real, and rooted in truth. Fight for something that matters to you, and let that fight drive every choice you make.
Because in the end, great acting isn’t about how well you cry. It’s about how hard you fight not to. That’s where the truth lives. And that’s what audiences will never forget and root for.
Because in the end, great acting isn’t about how well you cry. It’s about how hard you fight not to. That’s where the truth lives. And that’s what audiences will never forget.