When I worked on MACBETH, my primary actor goal was to master the vocal skills I've been working on. When doing THE TEMPEST, my goal was to find more physical freedom, more fluidity (Jesus--if you saw me in MACBETH, you know what I mean.) Now, on TWELFTH NIGHT, my goal is to nail down my ACTIONS.
I find determining my action to be almost unaccountably difficult. I second guess myself too much. I think I do this because
1) I live so much in my 'thoughts' about a role (rather than THROUGH the role);
2) I don't trust that what I DO feel is enough; that is, I keep expecting an unambiguous emotional connection to emerge through my preparation; and
3) I have a lot of trouble DOING the emotional prep.
I end up going in vicious circles. Thinking too much. Feeling some but not trusting. Going back to thinking to try to make myself feel more.
I find Orsino's action in the Act One, Scene I, tough to analyze (or, rather, I find it tough to trust my analysis. Please don't write in with yours. It'll just get in the way.) And my prep is failing me (I realize that my analysis is only as good as my emotional prep and visa versa.)
Ultimately, the key to unlocking my action? "Emotional access," to put it in a familiar, if crude phrase. I've found a coach to work with me on that.