Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.
Unless the theatre can ennoble you, make you a better person, you should flee from it.
The main factor in any form of creativeness is the life of a human spirit, that of the actor and his part, their joint feelings and subconscious creation.
A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.
Do not try to push your way through to the front ranks of your profession; do not run after distinctions and rewards; but do your utmost to find an entry into the world of beauty.
Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing -- all the things that ruin your life and draw your attention away from your art -- at the door.
Remember: there are no small parts, only small actors.
In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.
Our demands are simple, normal, and therefore they are difficult to satisfy. All we ask is that an actor on the stage live in accordance with natural laws
Category: Law And Lawyers
Love the art in yourself and not yourself in the art.
The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm.
Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you.
We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.
Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.
Talent is nothing but a prolonged period of attention and a shortened period of mental assimilation.