Shakespeare doesn't belong to the past. If his material is valid, it is valid now. It's like coal. The only meaningfulness of a piece of coal starts and finishes with its combustion, giving us light and heat. And that to me is Shakespeare.

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

A stage space has two rules: (1) Anything can happen and (2) Something must happen.

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.

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.

There are prophets, there are guides, and there are argumentative people with theories, and one must be careful to discriminate between them.

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.