Thoughts and feelings are suspended in a vacuum unless they instigate and feed the selected actions, and it is the characters actions which reveal the character in the play.

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The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn't look like a violin is no reason to assume his techniques should be thought of as less difficult.

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To rebel or revolt against the status quo is in the very nature of an artist.

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Once in a while, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often.

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If you want a bourgeois existence, you shouldn't be an actor. You're in the wrong profession.

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no work of art is ever finished, nothing is ever static, no performance is for keeps.

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I love playing Chekhov. That's the hardest; that's why I love it most.

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It must be noted that it is often the colleague or direct disciple of a new thinker who gets stuck in literal interpretations of the work, tending to freeze the new ideas and language into an inflexible, static condition.

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We were not allowed to say, Screw, but we could say, Hump the hostess, because hump is in Shakespeare.

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For some strange reason, we believe that anyone who lived before we were born was in some peculiar way a different kind of human being from any we have come in contact with in our own lifetime. This concept must be changed; we must realize in our bones that almost everything in time and history has changed except the human being.

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