You have to live to the responsibility of the person who has won, which is even greater than the responsibility of a person who has lost.

Many audiences all over the world will answer positively from their own experience that they have seen the face of the invisible through an experience on the stage that transcended their experience in life. They will maintain that Oedipus or Berenice or Hamlet or The Three Sisters performed with beauty and with love fires the spirit and gives them a reminder that daily drabness is not necessarily all.

You have to live to the responsibility of the person who has won, which is even greater than the responsibility of a person who has lost.

Theatres, actors, critics and public are interlocked in a machine that creaks but never stops. There is always a new season in hand and we are to busy to ask the only vital question which measures the whole structure. Why theatre at all? What for? Is it an anachronism, a superannuated oddity? Surviving like an old monument or a quaint custom? Why do we applaud and what? Has the stage a real place in our lives? What function can it have? What could it serve? What could it explore? What are its special properties?

Tradition itself, in times of dogmatism and dogmatic revolution, is a revolutionary force which must be safeguarded.

Nothing in theatre has any meaning before or after. Meaning is now.

I can take any empty space and call it a bare stage.