ELLEN TERRY

Vary the pace... is one of the foundations of all good acting.

No amount of skill on the part of the actress can make up for the loss of youth.

Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success on the stage.

Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry [hard work], and intelligence-the three I's-are all indispensable to the actor, but of these three the greatest is, without any doubt, imagination.

Not until we have learned to be useful can we afford to do what we like.

Eulogy is nice, but one does not learn anything from it.

Wonderful women! Have you ever thought how much we all, and women especially, owe to Shakespeare for his vindication of women in these fearless, high-spirited, resolute and intelligent heroines?

What is a diary as a rule? A document useful to the person who keeps it, dull to the contemporary who reads it, invaluable to the student, centuries afterwards, who treasures it!

Coroners' inquests by learned societies can't make Shakespeare a dead man.

Conceit is an insuperable obstacle to all progress. On the other hand, it is of little use to take criticism in a slavish spirit and to act on it without understanding it.

Vary the pace... is one of the foundations of all good acting.

Usefulness! It is not a fascinating word, and the quality is not one of which the aspiring spirit can dream o' nights, yet on the stage it is the first thing to aim at.

If it is the mark of the artist to love art before everything, to renounce everything for its sake, to think all the sweet human things of life well lost if only he may attain something, do some good, great work - then I was never an artist.

Eulogy is nice, but one does not learn anything from it.

Conceit is an insuperable obstacle to all progress.

There is all the difference in the world between departure from recognised rules by one who has learned to obey them, and neglect of them through want of training or want of skill or want of understanding. Before you can be eccentric you must know where the circle is.

Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success on the stage.

Only a great actor finds the difficulties of the actor's art infinite.

No amount of skill on the part of the actress can make up for the loss of youth.

What is a diary as a rule? A document useful to the person who keeps it, dull to the contemporary who reads it, invaluable to the student, centuries afterwards, who treasures it!

Coroners' inquests by learned societies can't make Shakespeare a dead man.

Conceit is an insuperable obstacle to all progress. On the other hand, it is of little use to take criticism in a slavish spirit and to act on it without understanding it.

Wonderful women! Have you ever thought how much we all, and women especially, owe to Shakespeare for his vindication of women in these fearless, high-spirited, resolute and intelligent heroines?

Not until we have learned to be useful can we afford to do what we like.

The tragedian will always be a limited tragedian if he has not learned how to laugh. The comedian who cannot weep will never touch the highest levels of mirth.

Before you can be eccentric, you must know where the circle is.

The picture of me is nearly finished, and I think it is magnificent. The green and blue of the dress is splendid, and the expression as Lady Macbeth holds the crown over her head is quite wonderful.

Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry [hard work], and intelligence-the three I's-are all indispensable to the actor, but of these three the greatest is, without any doubt, imagination.

Applause is an instinctive, unconscious act expressing the sympathy between actors and audience. Just as our art demands more instinct than intellect in its exercise, so we demand of those who watch us an apppreciation of the simple unconscious kind which finds an outlet in clapping rather than the cold intellectual approval which would self-consciously think applause derogatory. I have yet to meet the actor who was sincere in saying that he disliked applause.