All playwrights should be dead for three hundred years.
Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.
You have to get beyond your own precious inner experiences. The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings. The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
It's an odd mix, the life of a playwright.
To me, the job of a playwright is to explore and bring to light our lives. You can't hold back; you have to give in to this. Sometimes, you say things people don't want to hear.
When I was around eight, I learned how to touch-type at school, and I received a computer as a present. I started writing plays, and for many years I thought I would be a playwright.
Like most playwrights, I hate talkbacks with a passion that can burn a hole through hell.
My first acting class was taught by a little known playwright, David Mamet, who then cast me in my first play, opposite John Malkovich.
I never wanted to be a playwright.
One of the best things that happened for me as a playwright is becoming a comic-book writer.
In terms of collaboration, working on a new piece is always thrilling, as I'm sure most people would say, because the playwright is in the room and the piece itself evolves in response to what is happening in the room.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
I remember being asked when I was in high school what do I want to do when I grow up and the answer is so indicative - I would like to have been a successful playwright.
I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?
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 became fascinated by the fact that people write to give away rather than write to be read. It's the difference between playwrights and novelists.
I wrote my first play at the age of 10, 55 years ago, and I've always found it a fantastic relief to imagine I know what things would be like from the point of view of other individuals and to send out signals from where I actually am not. Playwrights never need to write from the place where they are.
For a long time I managed to think two things simultaneously, that I am actually a good playwright, and that the next time I write a play I will be revealed as someone who is no good at all.
As a playwright, you can cover a lot of waterfront without being able to hold your own against an expert in any of those areas. I have no illusions about that.
Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
I am a better novelist than a poet, playwright, or essayist.
An actor without a playwright is like a hole without a doughnut.
I would enjoy having dinner with the poet/playwright Derek Walcott.
You can't make a living as a playwright. You can barely scrape by.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
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