An actor has to burn inside with an outer ease.

In every well-written play the battle rages between the primary powers of Good and Evil, and it is this battle which constitutes the life impulse of the play, its driving force, and is basic to all plot structures...In any true piece of art...the beginning and the end are, or should be, polar in principle. All the main qualities of the first section should transform themselves into their opposites in the last section.

I am a creative artist. I have the ability to radiate. Lifting my arms above me, I soar above the earth. Lowering my arms, I continue to soar. In the air moving around my head and shoulders, I experience the power of thoughts. In the air moving around my chest, I experience the power of feelings. In the air moving around my legs and feet, I experience the power of will. I am that

An actor has to burn inside with an outer ease.

The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.

When you really concentrate, you will get a sense of expansion. You will feel that you are larger person than you are physically, as if you become a person two or three sizes bigger than your ordinary physical self, and that you are flowing with all your being toward the object of your concentration. Whether it is a physical thing or an image that you are concentrating on, your whole invisible person will be in movement.

Why be narrow-minded, why cut ourselves off from any of these rich heritages when… we have the freedom to make the most of the best in all techniques? There are no prohibitions against it. All it takes is a little wisdom, imagination and courageous experimentation.