It is not enough to be simply talented and to have natural gifts; one needs ability, technique, and art. (MLIA)

It is much easier to destroy the old than to create the new. (MLIA)

If one is forced to give talentless actors big parts, one is also forced, for the sake of the performance, to hide their faults.  (MLIA)

Let someone teach us to speak simply, musically, nobly, beautifully, but without vocal acrobatics, actors’ pathos and all the odds and ends of scenic diction.  We want the same thing in movement and action.  Let them be humble and not completely expressive and scenic in the theatrical sense of the word, but then they are not false, and they are humanly simple.  (MLIA)

In the repertoire of an actor, among the large number of parts played by him, there are some that seem to have been creating themselves in his inner consciousness for a long time.  One only has to touch the role and it comes to life without any of the tortures of creation, without any quest or technical work.  Life itself has created that role in its own good time, life and nature.  (MLIA)

How many actors’ sins are covered by the artist, his line and color.  How easily he gives an artistic shading to the whole performance.  It is not in vain that so many talentless actors and directors forcibly hide themselves behind the scenery, costumes, color spots on the stage, impressionism, cubism, futurism, and all the isms that frighten the inexperienced spectator and the naïve bourgeois. (MLIA)

The stage director can do a great deal, but he cannot do everything.  The most important thing is in the hands of the actor, whom one must help, who must be guided in the proper direction. (MLIA)