There are two aspects of change that are central to acting, being in action and dealing with obstacles via tactic shifts.
One is the fact that in order to play an effective scene, you must identify what changes about your character.
Secondly, you must identity what you believe has changed about the other character or characters in the scene with you.
If there is no discernable change on either side, you must dig deeper into the script, or else identitfy that the script you are working with might be weak. Abstraction and experimentation aside, dramatic scenes by their very nature are about change via conflict.
Often it may appear that there is no change, but when we examine the character closely we see a change take place later in the drama that is a result of the current scene,or the chnge is almost imperceptible to us, yet still meaningful. Chekhov contains such subtle changes in characters.
How can we best gauge the change we are seeking to identify?
By looking at what changes have occurred in the relationships between characters.
Characters are trying to change other characters they are in relationships with. Their opposing needs cause this evolution or de-evolution in their relationship.
Why? Remember: the road to your objective always goes through the other characters you are in relationships with.
You must change the other characters in order to get what you want.
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