Campbell human needs

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Perfect communication demands from the actor a balanced quartet of emotion, intellect, body, and voice.

No one part can compensate with its strength for the weakness of another. The actor who plays Hamlet with his emotional instrument dominant but his voice and intellect underdeveloped will only communicate the generalized tone of Hamlet’s pain and agony. The audience will think, “He’s suffering a lot — but why?” The emotionally available actress who plays Ophelia may tap a vein of madness that is authentic, but without the voice and textual understanding to shed light onto the situation she will be dismissed by the audience as incidental to the story. In contrast with these emotionally driven performances are those of two actors in whom the thought process dominates their work: a too-powerful intellect can also unbalance the actor’s quartet. These actors intelligently argue the case for Hamlet and for Ophelia but fail to move their audience. They are bound to fail in fully communicating their characters if their emotions are not involved. A very athletic actor might dominate the quartet with his physical instrument: playing Henry V he might choose to do a back flip off the battlements and breathlessly launch into, “Once more unto the breach, dear friends, once more / Or close the wall up with your English dead...” The audience will be transfixed by his physical prowess but pay no attention to what he is saying. Without intellect, voice, and emotion, physical energy is mere flashiness. Communication is skewed because the quartet is again unbalanced