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GOTE 
Goal-Other- 
Tactic- 
Expectation 
Robert Cohen, 
Acting Power
Goal 
 The character’s objective which the actor 
assumes; everything on stage must be 
seen, first and foremost as the character 
pursing a goal. The goal should be 
specific and outgoing. 
 Superobjective – what the character 
wants by the end of the play
Other 
 The person(s) with whom, for whom, or 
from whom you seek your goal. There is 
ALWAYS an other in acting. It is what 
makes achieving a goal difficult – the 
chief obstacle. The struggle to overcome 
obstacles to achieve the goals (and 
remember, the other is also in pursuit of 
goals) creates the dynamic of acting. The 
struggle to overcome obstacles on stage 
should make you sweat!
Questions 
 Ask yourself: 
 What is my goal 
 Who is/are the other person(s) affecting my 
gaining of it? 
 How can they help me? 
 How can they hurt me? 
 How are they my obstacle? 
 How can I demand/induce/encourage their 
help? 
 How can I overcome the obstacles they pose? 
 What should be my tactics?
Tactics 
 The character’s means of trying to 
achieve goals; they are what give acting 
its “guts.” Utilizing tactics are what make 
acting real. The lines may be the 
playwright’s, but the tactics are the 
actor’s.
Threat (I win, you lose) 
 Screaming 
 Implying A Hidden Arsenal 
 Overpowering 
 Observing Intently 
 Follow-through* 
 Attack 
 Conclusiveness 
 Taking Charge
Induction/Charm (I win, you 
win) 
 Confirming 
 Lulling 
 Inspiring 
 Frankness 
 Flattery 
 Seduction 
 Amusing 
 Disarming
Expectation 
 Characters don’t just desire goals, they 
crave them! Therefore they have certain 
expectations. Expectations need to incite 
enthusiasm, excitement, and energy. 
Characters not only have wants, they 
have passion. Make the goals the prime 
goals of their lives.

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Gote

  • 1. GOTE Goal-Other- Tactic- Expectation Robert Cohen, Acting Power
  • 2. Goal  The character’s objective which the actor assumes; everything on stage must be seen, first and foremost as the character pursing a goal. The goal should be specific and outgoing.  Superobjective – what the character wants by the end of the play
  • 3. Other  The person(s) with whom, for whom, or from whom you seek your goal. There is ALWAYS an other in acting. It is what makes achieving a goal difficult – the chief obstacle. The struggle to overcome obstacles to achieve the goals (and remember, the other is also in pursuit of goals) creates the dynamic of acting. The struggle to overcome obstacles on stage should make you sweat!
  • 4. Questions  Ask yourself:  What is my goal  Who is/are the other person(s) affecting my gaining of it?  How can they help me?  How can they hurt me?  How are they my obstacle?  How can I demand/induce/encourage their help?  How can I overcome the obstacles they pose?  What should be my tactics?
  • 5. Tactics  The character’s means of trying to achieve goals; they are what give acting its “guts.” Utilizing tactics are what make acting real. The lines may be the playwright’s, but the tactics are the actor’s.
  • 6. Threat (I win, you lose)  Screaming  Implying A Hidden Arsenal  Overpowering  Observing Intently  Follow-through*  Attack  Conclusiveness  Taking Charge
  • 7. Induction/Charm (I win, you win)  Confirming  Lulling  Inspiring  Frankness  Flattery  Seduction  Amusing  Disarming
  • 8. Expectation  Characters don’t just desire goals, they crave them! Therefore they have certain expectations. Expectations need to incite enthusiasm, excitement, and energy. Characters not only have wants, they have passion. Make the goals the prime goals of their lives.