At the moment, you're working with young actors teaching a course in experimental theatre at New York University. What are you trying to teach them?

How to be true in performance, that above all. I struggle to plant in them the principle that Grotowski handed on to me: we act so much in our daily lives that to make theatre what we need to do is to stop acting. Another very important thing to understand is that an actor must concentrate on his own body. The actor's instrument is not his voice or his diction, it's his whole body. Theatre can be a combination of all the arts – music, dance, painting, writing – but above all it is moving visual art. So long as an actor has elementary problems with his body, he is limited. So just as a musician has to exercise his fingers every day, so an actor has to exercise his body almost to the point of overcoming it, that is, being in complete control of it.