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 main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.

In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer. They are intertwined. A common purpose brings them together and reinforces the unbreakable bond.

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

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

Who am I? What will I be? Why am I here? Where am I going?

In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.