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.

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

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.

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?

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

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

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