It was kind of enlightening to become a playwright.
Like a dog, a playwright lives in an eternal present and a play is never closed.
I thought I wanted to be a playwright because I was interested in stories and telling stories.
A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.
A rather ugly thing starts happening: the playwright finds himself knocked down for works that quite often are just as good or better than the works he's been praised for previously. And a lot of playwrights become confused by this and they start doing imitations of what they've done before, or they try to do something entirely different, in which case they get accused by the same critics of not doing what they used to do so well.
A playwright lives in an occupied country. And if you can't live that way you don't stay.
I pray to be of service to the playwright, the audience, the other actors and my character.
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.
I'm an American playwright. Tennessee Williams got in all our DNA.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing. "
I don't want to be a playwright, I want to be a rock and roll star.
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
I never wanted to be a playwright.
I'm an actor and a playwright, and I don't earn much.
The Greek playwrights, we're all beholden to them, every one of us.
I know all about improvisation and the free-form that mirrors the chaos of our time, but I do like to feel that the playwright has done some work before I got there.
There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced.
The classical writers. . . playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
I can write better plays than any living danced, and dance better than any living playwright.
A stage play is basically a form of uber-schizophrenia. You split yourself into two minds - one being the protagonist and the other being the antagonist. The playwright also splits himself into two other minds: the mind of the writer and the mind of the audience.
