Plays are getting smaller and smaller, not because playwrights minds are shrinking but because of the economics.
Mere wealth, I am above it, / It is the reputation wide, / The playwright's pomp, the poet's pride / That eagerly I covet.
But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.
A novel it's different. It's kind of exhilarating not to have to cut to the bone constantly. Oh, well I can go over here for a moment. I can say what I think the guy was thinking or what the day looked like or what the bird was doing. If you do that as a playwright, you're dead.
It is Ireland's sacred duty to send over, every few years, a playwright to save the English theater from inarticulate glumness.
Screenwriting is a terrible way to make a living and I always try to talk anyone out of it. Until you sit in a story meeting with studio executives with no particular ability or actors who haven't even graduated high school telling you exactly how to change your script, you haven't experienced what it's really like to be a screenwriter in Hollywood. Also, unlike novelists and playwrights, you don't own the copyright on your original material. It hurts when you sell a project you love and then suddenly the project you really cared about will never see the light of day.
A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.
I make my living now as a screenwriter! Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.
I started acting pretty much by accident. I was doing read-throughs for a playwright who I was assisting, and then an agency saw me and said they wanted to represent me and get with me through my training and so on and so forth. It was pretty much by chance.
. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.
The utmost I can bear for myself in my best days is that I was one of the hundred best playwrights in the world, which is hardly a supreme distinction.
A prose writer never sees a reader walk out of a book; for a playwright, it's another matter. An audience is an invaluable education. In my experience, theatre artists don't know what they've made until they've made it.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
More than any other contemporary British playwright, Tom Stoppard populates his plays -- from Rosencrantz and Guildenstern Are Dead to The Invention of Love (his portrait of the poet and scholar A. E. Housman) -- with characters from life and literature. But one cannot always tell the difference between those who are real and those who are imaginary.
I started in theater and I wanted to write plays, but I never really found an original voice as a playwright.
I find it very invigorating having Ken Lonergan, who's an established, Pulitzer-nominated playwright doing Howards End, or Chris Hampton who's won an Oscar writing a TV series, or having an actor like Mark Rylance, who is probably England's leading theater actor, in the lead in Wolf Hall.
I did a thing called 24 Hour Plays, a thing they do every year on Broadway. A bunch of playwrights and actors get together, you write a play and you act it out in 24 hours, literally. People pay and the money goes to charity. So I did one - I was horrible. I was bad. I was terrified. And I was like, "Oh, I gotta do this again." Because I know I can do it.
In my collection, to me at least, the theatre of the past lives again and those long-dead playwrights and actors have in me an enthralled audience of one, and I applaud them across the centuries.
I'm a black American playwright. I couldn't be anything else. I make my art out of black American culture; they're all cut out of the same cloth. That's who I am; that's who I write about.
The mission of the playwright ... is to look in his heart and write, to write whatever concerns him at the moment; to write with passion and conviction. Of course the measure of the man will be the measure of the play.
If a playwright tried to see eye to eye with everybody, he would get the worst case of strabismus since Hannibal lost an eye trying to count his nineteen elephants during a snowstorm while crossing the Alps.
I love the students - they are remarkable, inspiring people. I would miss teaching if I stopped doing it. The kind of work I do is pretty diverse: I can cast a play while doing a polish of a screenplay, while thinking about a new play and revising another. In other words, the kind of work that I do during my work day is not just writing, yet it is all part of the job of being a playwright.
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