“I suppose it is submerged realities that give to dreams their curious air of hyper-reality. But perhaps there is something else as well, something nebulous, gauze-like, through which everything one sees in a dream seems, paradoxically, much clearer. A pond becomes a lake, a breeze becomes a storm, a handful of dust is a desert, a grain of sulphur in the blood is a volcanic inferno. What manner of theater is it, in which we are at once playwright, actor, stage manager, scene painter and audience?”

“But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.”

“Work is the miracle by which talent is brought to the surface and dreams become reality.”

“[…] a given text may seem fictional or actual depending on the context in which we encounter it. The same is true for oral performances. [Thomas] Pavel takes the example of a theatrical scene wherein an actor mimics the gestures of a priest and pretends to bless the audience. There is nothing effective about this blessing in most contexts, but it can become effective in certain circumstances: imagine, for example, a dictatorship in which religion is banned and in which a theater audience, having kept the old faith, experiences the actor’s gesture as authentic, transforming this fictional scene in a scene of real life.”

“Every time my dreams threaten to become reality, something always happens and I end up alone.”

“You should not expect your dreams to become a reality if you do not do something about it.”