When Levin thought what he was and what he was living for, he could find no answer to the questions and was reduced to despair; but when he left off questioning himself about it, it seemed as though he knew both what he was and what he was living for, acting and living resolutely and without hesitation.
I do not want actors and actresses to understand my plays. That is not necessary. If they will only pronounce the correct sounds I can guarantee the results.
I was planning to go into architecture. But when I arrived, architecture was filled up. Acting was right next to it, so I signed up for acting instead.
I'm very aware that when one is acting in the theater, you do become kind of animal about it. And you're reliant on instincts rather than tact a lot of the time.
I never consciously got into comedy. It was sort of one of those things where I was a theater student, I was acting, I was doing comedy, I was doing dramatic stuff, so it's been something that I've always done and enjoyed doing and had an instinct to be relatively good at.
Whether he's doing great acting or not, you're seeing somebody who is in the tradition of a great actor. What he does with it, that's something else, but he's got it all. The talent, the instrument is there, that's why he has endured.
You know it's hard for me to, like, act the way I've been acting. And, like, being, like, nice to everyone. And I think I deserve to be acknowledged for that.
Improvisation sometimes seemed more like jazz than acting, like verbal jazz, with the actors playing a theme back and forth, and then introducing another theme, incorporating it, somehow trying to work their way all together to a meaning of some kind, or at least a conclusion.
One half of the pleasure experienced at a theatre arises from the spectator's sympathy with the rest of the audience, and, especially from his belief in their sympathy with him.