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.

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.

Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.

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.

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

In talking about a genius, you would not say that he lies; he sees realities with different eyes from ours.

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.