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?

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.

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.

The work of a director can be summed up in two very simple words. Why and How.

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.

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

Reality' is a word with many meanings.