ULTIMATELY, of course, the actor is concerned with the communication of what exists in a text to an audience.
While it is not always useful, particularly in the early stages of training, for the actor to be overly concerned with his/her effect on an audience, the voice teacher or coach will always have this in mind as a part of the routine of the actor's physical development.
In the end, the effectiveness with which the actor is able to communicate to an audience relies largely on the two main areas of work so far outlined - the rediscovery of language, and the readiness to let it inhabit the mind and body so that the breath,resonance of the voice, and organs of articulation will serve the actor's imaginative and emotional aims.
I believe that we all have the potential to achieve this early in our lives but that the processes of ''education'' and socialisation that we all go through discourage us from giving full vent to our imaginative, emotional and vocal talents.
In addition, there is very little place for human vulnerability in our contemporary commerce-based society, and yet the potential to be constantly vulnerable is a good actor's greatest asset.
Vulnerability allows the actor to be susceptible to the author's ideas and intentions, allows him/her to be in touch with and to express their feelings, and allows the audience to see into the heart and soul of the actor and to share his/her experience.
When all these things can be achieved, communicating in a large space - the ability to ''project'' that many people think of as they key aspect of the actor's skill - is not really a difficult problem to solve.
