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As an actor I don't admit to any limitations. In rehearsal one comes up against apparently insuperable barriers, but if one can imaginatively get past them, overreach one's natural reach, it is astonishing how elastic one can become. I've got to go not so far as I can, but as far as is needed. It's up to somebody else to say if I've made a fool of myself.

I've found that an actor's work has life and interest only in its execution. It seems to wither away in discussion and becomes emptily theoretical and insubstantial. It has no rules except perhaps audibility. With every play and every playwright the actor starts from scratch as if he or she knows nothing and proceeds to learn afresh every time, growing with the relationships of the characters and insights of the writer. When the play has finished its run the actor is empty until the next time...and it is the emptiness which is, I find, apparent in any discussion of theatre work.

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I feel incredibly lucky to have discovered early in my life, practically when I was a child, that I could do something that in the end I finally wanted to do all my life. It has something to do with being completely removed from oneself, which doesn't necessarily mean one is uncomfortable inside oneself. It just means it's a great relief to be inhabiting somebody else. It can be a tremendously liberating sensation.

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