http://www.americantheatre.org/2013/12/01/willem-dafoe-tension-and-mystery/

Willem Dafoe is an original member of the Wooster Group in New York City. This month, Dafoe appears in Robert Wilson’s The Life and Death of Marina Abramovic, which makes its U.S. debut at Park Avenue Armory in New York City Dec. 12–21. In June, the duo’s next collaboration, The Old Woman, will play at Brooklyn Academy of Music.

What compelled you to be part of Marina Abromovic? The hook was Bob Wilson. I’d always wanted to work with Bob, and he was the one who invited me to come to the project. His form of theatre has some highly developed language, and that gives an actor a great amount of freedom, because the theatrical/gestural language that he has developed is so precise that you can really live in a full way inside that kind of articulation.

What’s the difference between performance art and theatre? I think I’ll pass on that question. See, I don’t have to know! In fact, I don’t want to know. I always look at the company I keep and what the proposal is for what we’re going to make, and that’s the attraction. I don’t really try to categorize what I’m doing. I think part of an actor’s job is to reinvent the process and reinvent the intention with each show. So if I start to make those distinctions, that threatens the flexibility that I’m trying to cultivate.

If a young actor says to me, “Hey, I want to be a theatre actor, what do I do?” I would say: Find people’s work that you’re interested in and just get near it, no matter what you’re doing. Insinuate yourself in the process and before you know it, you may be part of it.

Like you have to fuckin ask