It takes a long while for a director to cease thinking in terms of the result he desires and instead concentrate on discovering the source of energy in the actor from which true impulses arise.

Drama is exposure; it is confrontation; it is contradiction and it leads to analysis, construction, recognition and eventually to an awakening of understanding.

A word does not start as a word – it is an end product which begins as an impulse, stimulated by attitude and behaviour which dictates the need for expression.

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

The work of rehearsal is looking for meaning and then making it meaningful.

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.