The ultimate aim of the training is to create an actor who can be responsible for his artistic development and achievement.
I have always been an impassioned advocate for the works of Shakespeare. I regard him as one of the most complete miracles of his or any other age.
I think Broadway is good for sharpening your skills. It's the best for really reaching the zenith of your talent. You go so far and reach the peak of it and you say, "Maybe this is the best performance I can do."
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
The great actors are the luminous ones. They are the great conductors of the stage.
Cultivate a love of skill. Learn theatrical skills. They will give you continual pleasure, self-confidence, and link you to fifty thousand years of the history of our profession.
Yul Brynner's performance in "The King and I," . . . can no longer be regarded as a feat of acting or even endurance. After 30-odd . . . Mr Brynner is, quite simply, The King.
What king has he not taught state, as Talma taught Napoleon? What maiden has not found him finer than her delicacy? What lover has he not outloved? What sage has he not outseen? What gentleman has he not instructed in the rudeness of his behavior?
The actor doesn't merely command the stage, he seems to own it by divine right.
