The Actor and the Target

The Actor and the Target by Declan Donnellan, co-founder and artistic director of the internationally acclaimed Cheek by Jowl theatre company, presents a revolutionary framework for understanding and solving the fundamental challenges actors face in performance. Originally published in 2002 with a revised edition in 2005, the book has been translated into over fifteen languages, reflecting its universal relevance and the global respect Donnellan commands as one of the most distinguished directors working in world theatre. The book's central insight — that acting problems are almost always problems of attention — has transformed how many actors and directors think about the creative process.

The core concept of the book is the target — the thing the actor is looking at, attending to, and responding to in each moment. Donnellan argues that most acting problems arise not from what the actor is doing wrong but from what the actor is looking at, or failing to look at. When an actor becomes self-conscious, stiff, or false, the cause is almost always that their attention has turned inward rather than remaining focused on an external target. This deceptively simple insight has profound implications for how actors prepare, rehearse, and perform, shifting the emphasis from self-manipulation to outward engagement.

Donnellan systematically dismantles many of the assumptions and habits that actors develop through conventional training, particularly the tendency to try to produce or control emotions. He argues that emotions are not things actors can directly create but are instead natural responses that arise when attention is properly directed toward vivid, specific targets. The actor's job is not to feel something but to see something — to allow the imaginary world of the play to become real and compelling enough to provoke genuine response. This framework liberates actors from the exhausting and often counterproductive effort of trying to manufacture internal states.

The book is written in a distinctive, engaging style that combines philosophical depth with practical clarity. Donnellan uses vivid metaphors, unexpected analogies, and a warm conversational tone that makes complex ideas accessible without oversimplifying them. He draws examples from a wide range of plays, from Shakespeare to Chekhov to contemporary work, demonstrating the universality of his principles across styles and periods. The writing has a quality of genuine discovery, as though Donnellan is thinking through the problems alongside the reader rather than presenting pre-packaged conclusions.

The target-based approach has proven especially effective for actors working on classical texts, where the heightened language and formal structures can easily lead to generalized, declamatory performance if the actor is not anchored to specific, immediate targets. Donnellan's extensive experience directing Shakespeare, Chekhov, and other classical playwrights gives him particular authority in this area. The technique is equally valuable for contemporary naturalistic work, where the demand for moment-to-moment truthfulness requires the kind of genuine responsiveness that target-focused attention produces. Directors who have adopted Donnellan's framework report that it gives them a precise, non-judgmental vocabulary for helping actors solve problems in rehearsal.

The Actor and the Target is available in paperback from Theatre Communications Group, typically priced between $14 and $22 for a new copy. Used copies are available for somewhat less. Digital editions are available for Kindle and other e-readers at approximately $10 to $16. The book represents an outstanding investment for any serious actor or director, as its ideas have the potential to fundamentally shift how you approach the creative process. Given its international reputation and the quality of its insights, the book is remarkably affordable and accessible.

The Actor and the Target is essential reading for any actor or director who has ever struggled with self-consciousness, emotional forcing, or the feeling that their work is technically proficient but somehow lifeless. It is particularly valuable for actors who have extensive training but feel constrained by their technique rather than liberated by it. Directors will find Donnellan's framework invaluable for giving precise, actionable notes that help actors without making them more self-conscious. If the ideas resonate with you, seek out Donnellan's masterclasses and workshops, which are offered periodically in conjunction with Cheek by Jowl's international touring schedule.

Read the book slowly and reflectively, allowing each chapter to settle before moving on — the ideas build cumulatively and reward patience. As you read, identify specific moments in your own recent performances where your attention may have been misdirected, and consider what specific target might have helped you in those moments. Practice the discipline of directing your attention outward in everyday life — noticing what you see, hear, and respond to — as this trains the same faculty that Donnellan argues is central to acting. Discuss the book with fellow actors and directors, as the ideas become richer and more nuanced through conversation and shared application. Return to the book before beginning work on a new role, as each new character will reveal different dimensions of Donnellan's insights.