You must be so thoroughly immersed in the given circumstances of the play, then you decide what it is at any given moment what that the actor wants.

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.

The life of a character should be an unbroken line of events and emotions, but a play only gives us a few moments on that line - we must create the rest to portray a convincing life.

In the circle of light on the state in the midst of darkness, you have the sensation of being entirely alone... This is called solitude in public... During a performance, before an audience of thousands, you can always enclose yourself in this circle, like a snail in its shell... You can carry it wherever you go.

Of course, if you have thought up to now that an actor relies merely on inspiration you will have to change your mind. Talent without work is nothing more than raw unfinished material.

When we are on stage, we are in the here and now.

Talent is nothing but a prolonged period of attention and a shortened period of mental assimilation.