It is only when an actor feels that his inner and outer life on the stage is flowing naturally and normally, in the circumstances that surround him, that the deeper sources of his subconscious gently open, and from them come feelings we cannot always analyse.

Gratuitous cruelty borders on the pathological, psychotic and that becomes uninteresting because there is no choice.

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.

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

The actor must use his imagination to be able to answer all questions (when, where, why, how). Make the make-believer existence more definite.

Every person who is really an artist desires to create inside of himself another, deeper, more interesting life than the one that actually surrounds him.

In the language of an actor, to know is synonymous with to feel