...an actor is exactly as big as his imagination.

Idealistic producing is safe. Sensibly projected in the theater, the fine thing always does pay and always will.

Go into the streets, into the slums, into the fashionable quarters. Go into the day courts and the night courts. Become acquainted with sorrow, with many kinds of sorrow. Learn of the wonderful heroism of the poor, of the incredible generosity of the very poor

This...is an age of specialization, and in such an age the repertory theater is an anachronism, a ludicrous anachronism.

...I have never known a movement in the theater that did not work direct and serious harm. Indeed, I have sometimes felt that the very people associated with various uplifting activities in the theater are people who are astoundingly lacking in idealism.

Be reflective...and stay away from the theater as much as you can. Stay out of the theatrical world, out of its petty interests, its inbreeding tendencies, its stifling atmosphere, its corroding influence. Once become

Many a play is like a painted backdrop, something to be looked at from the front. An Ibsen play is like a black forest, somethingyou can enter, something you can walk about in. There you can lose yourself: you can lose yourself. And once inside, you find such wonderful glades, such beautiful, sunlit places.

I suppose that Paderewski can play superbly, if not quite at his best, while his thoughts wander to the other end of the world, orpossibly busy themselves with a computation of the receipts as he gazes out across the auditorium. I know a great actor, a master technician, can let his thoughts play truant from the scene.

You must make your own blunders, must cheerfully accept your own mistakes as part of the scheme of things.