A Quote by Leslie Howard

What the actor is in private life, he is to a large extent on the stage, because he cannot conceal himself and his true personality from his audience. — © Leslie Howard
What the actor is in private life, he is to a large extent on the stage, because he cannot conceal himself and his true personality from his audience.
What strikes me about Jesus is that he is a remarkably true person; he never changes his personality to fit in with whatever crowd he finds himself. He is simply himself, and he never plays to his audience.
Modern man has transformed himself into a commodity; he experiences his life energy as an investment with which he should make the highest profit, considering his position and the situation on the personality market. He is alienated from himself, from his fellow men and from nature. His main aim is profitable exchange of his skills, knowledge, and of himself, his "personality package" with others who are equally intent on a fair and profitable exchange. Life has no goal except the one to move, no principle except the one of fair exchange, no satisfaction except the one to consume.p97.
Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.
Man's main task in life is to give birth to himself, to become what he potentially is. The most important product of his effort is his own personality. One can judge objectively to what extent a person has succeeded in his task, to what degree he has realized his potentialities. If he has failed in his task, one can recognize this failure and judge it for what it is - a moral failure.
The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.
The [Great] Actor is able to approach in himself a cosmic dread as large as life. He is able to go from his dread to a joy so sweet that it is without limit. Only then will the actor have direct access to the life that moves in him, which is as free as his breathing. And like his breathing, he doesn't cause it to happen. He doesn't contain it, and it doesn't contain him.
Only to the extent that someone is living out this self transcendence of human existence, is he truly human or does he become his true self. He becomes so, not by concerning himself with his self's actualization, but by forgetting himself and giving himself, overlooking himself and focusing outward.
He who stands aloof runs the risk of believing himself better than others and misusing his critique of society as an ideology for his private interest. While he gropingly forms his own life in the frail image of a true existence, he should never forget its frailty, nor how little the image is a substitute for true life. Against such awareness, however, pulls the momentum of the bourgeois within him.
When a warrior fights not for himself, but for his brothers, when his most passionately sought goal is neither glory nor his own life's preservation, but to spend his substance for them, his comrades, not to abandon them, not to prove unworthy of them, then his heart truly has achieved contempt for death, and with that he transcends himself and his actions touch the sublime. That is why the true warrior cannot speak of battle save to his brothers who have been there with him. The truth is too holy, too sacred, for words." -Suicide (Gates of Fire)
What a wee little part of a person's life are his acts and his words! His real life is led in his head, and is known to none but himself. All day long, the mill of his brain is grinding, and his thoughts, not those of other things, are his history. These are his life, and they are not written. Everyday would make a whole book of 80,000 words -- 365 books a year. Biographies are but the clothes and buttons of the man -- the biography of the man himself cannot be written.
Look at the means which a man employs, consider his motives, observe his pleasures. A man simply cannot conceal himself!
An actor is totally vulnerable. His total personality is exposed to critical judgment - his intellect, his bearing, his diction, his whole appearance. In short, his ego.
We are not what we seem. We are more than what we seem. The actor knows that. And because the actor knows that hidden inside himself there's a wizard and a king, he also knows that when he's playing himself in his daily life, he's playing a part, he's performing, just as he's performing when he plays a part on stage.
And he began to see the truth, that Ged had neither lost nor won but, naming the shadow of his death with his own name, had made himself whole: a man who, knowing his whole true self, cannot be used or possessed by any power other than himself, and whose life therefore is lived for life's sake and never in the service of ruin, or pain, or hatred, or the dark.
The actor's physical type is the main consideration. It isn't and shouldn't be. Does the actor "look the part"? It is the simplest question to deal with. The director deludes himself who yields to the temptation to believe that an affirmative answer settles the matter. An actor's looks will impress an audience initially but after his first five minutes on stage it becomes aware of what he or she communicates (or fails to communicate) through acting!
The police cannot protect the citizen at this stage of our development, and they cannot even protect themselves in many cases. It is up to the private citizen to protect himself and his family, and this is not only acceptable, but mandatory.
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