The plays of Shakespeare, like the Christian Faith, are about more than just feelings - by Kevin O'Brien
an abridgment of an article published elsewhere
... I've been writing about the tendency in acting circles to say it's all about emotion and not about what contains or directs the emotion; indeed it's all about feelings and not about purpose. This fashion becomes a disdain for technique or even discipline, which stems from the modern notion that content can exist without form or that anything that constrains or holds us back or shapes us is suspect.
But not only do many actors overlook the rhetorical shape of the speeches they perform, they think it's wrong for anyone to suggest that these speeches - or this character - or the play that contains them - means anything other than the (usually narrow and self-serving) meaning they impose upon all of it arbitrarily and ahead of time - which is how they look at life: disconnected fragmentary bits of emotion and experience without a point to any of it beyond whatever subjective point a person may choose to impose as the mood strikes him.