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

Our demands are simple, normal, and therefore they are difficult to satisfy. All we ask is that an actor on the stage live in accordance with natural laws.

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.

All art is autobiographical - if it's not, it's not going to quicken on-stage, and it's not going to come alive.

Never allow yourself externally to portray anything that you have not inwardly experienced and which is not even interesting to you.

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

We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.