The theatre infects the audience with its noble ecstasy.

The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.

I was born an ordinary actor. I will die an ordinary actor. But I've persisted.

In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way.

Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.

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.

When an actor is completely absorbed by some profoundly moving objective so that he throws his whole being passionately into its execution, he reaches a state we call inspiration.