We are very grateful to you for your criticism of Twelfth Night. We have adopted a couple of your suggestions. I wondered why all of you did not give me criticisms. You must understand how we are building the whole institution, the life of this theatre, not only one performance, and the main way we work in the theatre, which is a collaborative way. That means that one must forget about himself, but remember well about the institution as a whole. I would like to you to spend the time while you are here not only in getting something in technique and atmosphere, but that you actually help to build the theatre, because, after all, the theatre is the very thing we all work and suﬀer and stand for, not personalities or individuals, but the big thing which is called the theatre. And so I would like to have anything you may have to say or suggest about Twelfth Night. Every criticism has been important, because they are honest and intelligent. They really correspond with the spirit of the whole thing. I am sorry to come once a week, or else when you meet me and only
to speak with you, not to work practically. I would like to have you apply criticism that I tell you in words,
because, although I got good criticism, I did not get one hint in the performance on the points of my two previous talks with you. For instance, one said that the beauty of the Shakespearean lines and words was not developed. Perfectly true, but if you knew how diﬃcult it is to develop a Shakespearean line, that although it may be very eloquent, it may sound like an S.O.S., because it is so short and spicy. You cannot cut out or change a line, and it is not even the technique of speech which helps to say those lines in one way, but the spirit inside the actor. It is really concentration and problem; when the concentration corresponds exactly with the problem and with Shakespeare when he was writing the lines, you will have a full and perfect expression of the lines, whether they are very eloquent and long, or as short as an S.O.S.