The language of the body is the key that can unlock the soul.

Don't go so deep in yourself that you no longer exist for your partner and for the character and for the play.

It is through you, actors, that the forces which are understood by millions and that tell of everything that is beautiful on earth, find expression. The forces which reveal to people the happiness of living in a widened consciousness and in the joy of creative work for the whole world. You, the actors of a theatre, which is one of the centres of human culture, will never be understood by the people if you are unable to reflect the spiritual needs of your time, the now in which you are living.

Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part.

The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm.

In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners.

Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing - all the things that ruin your life and draw your attention away from your art - at the door.