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

The closeness of reality and the distance of myth, because if there is no distance you aren't amazed, and if there is no closeness you aren't moved.

In the theatre, every form once born is mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it.

I am ready to disclaim my opinion, even of yesterday, even of 10 minutes ago, because all opinions are relative. One lives in a field of influences, one is influenced by everyone one meets, everything is an exchange of influences, all opinions are derivative. Once you deal a new deck of cards, you've got a new deck of cards.

Preparing a character is the opposite of building-it is a demolishing, removing brick by brick everything in the actor's muscles, ideas and inhibitions that stands between him and the part, until one day, with a great rush of air, the character invades his every pore.

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.

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